Both approaches have their faults: at MoMA, the tasteful neatness of Taniguchi's galleries chastises messiness like a prissy primary school teacher (Philip Guston looks like an example to the class of what not to do, children); at Tate Modern, cleanliness and tidiness looks
mean - spirited and non-participatory — Donald Judd's brass box is smeared with fingerprints, the
square guy who won't
dance at the party.