In the other sermon, the narrator
tells numerous anecdotes about himself; he becomes a much more intrusive object in his own narratives; and in these stories his authority is never challenged.
Cited
numerous times (by Hans Ulrich Obrist, Daniel Birnbaum, Roman Kurzmeyer, and others) as evidence of Szeemann's adventurous curatorial style or his invention of «a museum of obsessions,» the story of the Grossvater exhibition is often
told as a curious
anecdote evidencing an artistic - curatorial practice; the actual content of the installation has not been sufficiently analyzed despite Szeemann's own articulated commitment to the seriousness of the project.