It had been years since I had stepped foot in the SF MOMA but I hadn’t realized just how man – it had been 14. Time is a concept that I continually find more bizarre with each passing moment. The last show I saw at SF MOMA was Olafur Eliasson’s Take Your Time in 2007. It was a stunning exhibit which absolutely thrilled me to experience. If you were there, you probably know how special it was. I had the pleasure of enjoying the show prior to the advent of Instagram and the rise of smartphones, which as many of you know, fostered an entirely different environment. I was pleased to see Eliasson’s multi-colored bridge is still on display in the collection.

My relationship to the art world has drastically changed over the past decade. Now, when I walk into a museum, I can see the work of some of my closest friends and lovers from a reckless past hanging on the walls. At times this has created an exorcism of emotions. This is not anything I could have foreseen but on occasion, it makes for a complex situation within these institution walls. There are times I know too much – which artists hit women, sexually assault men at parties, send insane emails in the middle of the night, outsource paintings to factories in China, and score coke from their blue-chip galleries in order to finish a show. That is the tip of the iceberg. I don’t actually believe anyone can know too much but having this knowledge can drastically alter your idea of an artwork or a show. The art world is dark and messy while simultaneously invigorating and expansive.

Over the years I have loosely followed what’s been transpiring at SF MOMA. If you need to catch up, this Art Forum piece will give you an idea. I was not surprised to learn this information as I’m familiar with institutional racism and its rampant in museums. If you’re even the slightest critical thinker you know who has controlled these environments and what kind of problems come along with that. Thankfully, these past couple of years have created an environment for the disenfranchised to raise their voices and be heardabout the lack of diversity in these spaces. Toxic work environments aren’t exclusive to fine art but for a world that promotes expression and often, beauty, the reality is often the opposite.

With all that being said, I remain a staunch patron of the arts. I share these ideas and stories because I want people to do better. And for those not so tightly wrapped up in the art ecosphere, when it’s safe, please continue to visit and explore your local museum. When you find yourself in San Francisco, a visit to SF MOMA can be an unforgettable experience. If arts and culture are important to your travels I recommend that you also make it a point to see James Turrell’s Three Gems at the de Young Museum.

Here I share with you a selection of my favorite pieces from my last visit in Spring 2021. From Top to Bottom: Tony Cragg Forminifer (1989), Jenny Holzer Truisms (1983), Olafur Eliasson One-Way Colour Tunnel (2007), Nam June Paik Egg Grows (1984-1989), Frida Kahlo Frida and Diego Rivera (1931), Dan Flavin “monument” for V. Tatlin (1969), Oliver Chanarin The Apparatus (2020), Dan Flavin Untitled (in honor of Leo at the 30th anniversary of his gallery) (1987), Nam June Paik TV Garden (1974/200)Paulina Olowska A Portrait of the Artist—Indoors (2012), Ana Mendieta Tallus Mater (1982)

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