The fragile Nadelman sat on an enormous pedestal
in the middle of the
room; the Oldenburg — the lone Pop work
in the space —
crowded out the best painting
in the gallery, Jackson Pollock's pre-drip The Blue Unconscious (1946), on loan from a private collection; and the bright yellow hard - edge Stella, a significant recent acquisition, was inexplicably sandwiched between two black - and - white Franz Kline paintings, interrupting a potentially interesting
conversation.