MoMA’s

Saltz on Tilda Swinton in a Box and How Living Art Has Become MoMA’s Crystal Meth

Placing living art in MoMA’s airy atrium has become the museum’s crystal meth. The addiction kicked in big-time a few seasons back when Marina Abramovic, the self-styled mystic guru of staring and making people cry just by looking in their eyes, sat in the museum’s atrium for months as people lined up for the chance to sit across from her and say they were part of the art. It was a spacey, necromantic circus.

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