At the Palazzo Venier 

Nicholas Penny

Almost every North American museum of art today includes a gallery of modern and contemporary work, and little separates the colonial furniture, the Romantic waterfall and the careworn Rodin nude from the huge splashy hieroglyph, the bold candy-striped canvas, the colossal obese sunbather and the flashing neon message. Things are different in Europe, but contemporary artists are nonetheless frequently invited to perch on the tombs of the Old Masters, brandishing testimonials of long-standing devotion as evidence of the continuing ‘relevance’ of museums. Half a century or so ago, by contrast, avant-garde artists and their champions strove to present their work in separate spaces, to create museums of modern art.

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