exhibition's

The exhibition's positioning of Picasso as one of the originators of the "recall to order" is problematic.

In the Great War's Wake Michael FitzGerald 2010

You can visit Recollection Online for the exhibition's digital experience or see it in person from now through January 2, 2011 at the Stephen A. Schwarzman Building.

The New York Public Library: A Picture Of Persistence: How a Photography Collection Was Born The New York Public Library 2010

The exhibition's statement that Bauer's stubbornness made a skeptical Mossad probe Ricardo Klement's identity is an admirable concession that Israeli espionage owes one of its major achievements to a Diaspora Jew, a gratitude expressed also through the display of the teleprinter and tickertape by which an agent was ordered to inform Bauer of Eichmann's kidnapping.

How Israeli Spies Pulled It Off Amotz Asa-El 2012

This is the Grand Palais taking in videogames, says Jean-Baptiste Clais, one of the exhibition's curators.

The Art of the Videogame Gabriele Parussini 2011

The ambiguity continues with the exhibition's stated theme, "Craft is Art is Craft," an attempt to express the nature of a liaison that remains both evanescent and enigmatic.

Coming In From the Cold Ada Louise Huxtable 2011

"Drawing was as important as painting" for the Impressionists, says the exhibition's guest curator, Christopher Lloyd, surveyor of the queen's pictures at the British Royal Household from 1988 to 2005.

When Impressionists Played With Pastels 2011

Neomi Izhar, the exhibition's historian, explains that authorization for the kidnapping ultimately hinged on a draftsman's meticulous analysis that proved the target's ears matched Eichmann's ears as they appeared in his SS file photo.

How Israeli Spies Pulled It Off Amotz Asa-El 2012

This operation deployed 67, all listed on the exhibition's entrance wall, ranging from forgers and mechanics to pilots and the doctor who kept Eichmann sedated until his flight was in midair.

How Israeli Spies Pulled It Off Amotz Asa-El 2012

Its chairman, Lorenzo Bini Smaghi, is himself a banker; his role at the European Central Bank makes his statement in the foreword to the exhibition's catalogue seem particularly heartfelt.

For the Love of Money Andrew McKie 2011

Picabia's strange, decorative paintings, known as "transparencies," hang in several of the exhibition's galleries, and offer far more literal quotations from a past the artist refused to reinvent.

A Dialogue Across Centuries Mary Tompkins Lewis 2011