The Museum Show, parts 1478 - 1481

1478. Buboni could not have been more correct about this consideration. His knowledge of the problems of gallery placement relative to the artists in a group show came from the many years in which he had been asked to be one of the judges for the many gallery and museum shows he and his colleagues were involved in. Buboni was often selected because he could be relied upon to represent a historical and conservative point of view.

1479. He said that many times his judgments had led to confrontations and arguments in the museum setting. "There is nothing quite like seeing an artist enter the exhibition space, their face beet red with anger. They scan the room looking for their enemy and their eye lights upon your countenance. Then, with measured angry strides they walk up to you quivering in silent rage and stand in front of you. 

1480. They eye you up and down as if mentally comparing you to some insect they intend to crush, and finally their invective bursts forth. They rush from one partial sentence to another unable to decide whether they want to condemn your entire career, your personal life, or just the question of where you have placed certain of their works of art.  Remarks bordering on death threats are common. The judge's response must be invariably the same.

1481. "My favorite reply," said Buboni, "was to suggest that they take their picture out of the exhibition as soon as they liked, and take it down to New York City, and get in the line with all the other artists involved in doing the exact same type of work, and hope it gets the recognition it truly deserves." "Because," he said, "no matter what one may be doing, someone somewhere is doing something similar.