MoMA’s current reverential multimedia, multi-floor, multi-everything homage to Icelandic pop icon, Björk, has certainly generated polarized reactions from the arts community, critics, and the public. Washington Post art critic Phillip Kennicott has an interesting and provocative take on the show and how the “experience economy has invaded the museum”.
Does Pop consume everything in its path, including art, as Kennicott writes? Or are shows like this essential not only for the survival of esteemed institutions but also to get people in the museum who might not otherwise come?
