Midway through the Museum of Modern Art’s enormous Willem de Kooning exhibition, the curator’s effort at sobriety, balance and perspective breaks down. Lined up on one wall, side by side, like a platoon of drunken and painted harlots, de Kooning’s landmark 1950 “Woman” paintings take over and spread their mayhem in every direction. They leer and squint and mock, and the power of their presence overwhelms the judicious argument that has been carefully superimposed on this methodical retrospective: ...
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