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Title : No nudes is good nudes.
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No nudes is good nudes.

I'm reading this NYT article by Roberta Smith about the rearrangement of the various permanent galleries at the Museum of Modern Art. I see what's going on here:

The fourth-floor gallery, with a mix of what most people would recognize as Pop Art, was previously “From Soup Cans to Flying Saucers” and is now “Domestic Disruption.”... This gallery... is far less discombobulated than its previous iteration, corroborating more convincingly the internationalism that is a recurring subtext on this floor. Tom Wesselmann’s scaled up “Still Life #57” (1969-70) is one of his best installation paintings, not least for containing no nudes. It is in dialogue with Noah Purifoy’s “Unknown,” a balletic assemblage-painting in which a parasol armature radiates across saturated bands of green, yellow and red. To the other side stands Beatriz González’s “Lullaby,” a metal baby crib, painted enamel green with an appropriated image of mother and child.

"Still Life #57" — which you can see here — is a very large painting of a radio, an orange, and some daffodils. But longtime museumgoers almost certainly associate Wesselmann with vivid, forthright "Great American Nudes" like this one, "Great American Nude #75."

Now, the nudes are banished, the galleries are rearranged, Wesselmann will be known by an orange (instead of the orange's shape-mate, the breast), and it must be "in dialogue" with an African-American man's balletic parasol and a Hispanic woman's crib. 

I'm not looking at it, but it sounds like ham-handed inclusiveness. It sounds as though the white man is still the center of power: The arrangement seems like an exercise in diluting and offsetting him. That, ironically, is an expression of a deep, persistent belief in white male supremacy. 

Thus articles No nudes is good nudes.

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