“L—d!” said my mother, “what is all this story about?”—“A Cock and a Bull,” said Yorick.
—The Life and Opinions of Tristram Shandy.

It has come as no great surprise that the series of exhibitions at the Museum of Modern Art called “MOMA2000,” which began in the fall of 1999 with a focus on “People,” “Places,” and “Things” in art drawn from the years 1880–1920, has given us in its culminating survey of the period 1960–2000 a show largely concentrated on politics, propaganda, and pop culture. [1] From the outset, after all, it was one of the primary purposes of “MOMA2000” to offer the museum public a revisionist account of the history of modernism—a new “narrative,” as the MOMA authorities...

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