Mission Accomplished. The Museum Of Modern Art's

In Art, Scandal Is A False Narrative, A Smoke Screen That Camouflages Rather Than Reveals. When We Don't Know What We're Seeing, We Overreact.

The Very Paradigm Of Revolution, Of Right Versus Wrong, Good Versus Bad, Is A Relic With No Bearing On The Present. Yet Artists, Exhibitions, And Curators Valorize The Sixties. People Who Wrote About These Artists 30 Years Ago Still Write About Them In The Same Ways, Often For The Same Magazines.

As I Went Through 'this Progress,' One Of Two Performance Pieces By Tino Sehgal That Transform Frank Lloyd Wright's Emptied-out Spiral Into A Dreamy Socratic-purgatorial Journey, The Museum Literally Fell Away. I Was Suspended In Some Weird Nonspace.

Damien Hirst Is The Elvis Of The English Art World, Its Ayatollah, Deliverer, And Big-thinking Entrepreneurial Potty-mouthed Prophet And Front Man. Hirst Synthesizes Punk, Pop Art, Jeff Koons, Marcel Duchamp, Francis Bacon, And Catholicism.

The Debut Show, “second Lives: Remixing The Ordinary,” Is Supposed To Be About How Artists Reuse Humble Or Unusual Materials. There’s Good Work Here, But Much Of What’s On View Is Actually More About Obsession And Repetition: A Couch Made Out Of 3,500 Quarters, A Necklace Composed Of 100 Handgun Triggers. The Building, Too, Seems Caught Between Wanting To Be An Object Of Decorative Delectation And Making An Architectural Statement.