At times, the parade of masterpieces in “Unfinished” feels excessive, and it’s hard to imagine how the Met will top this grouping of incredible loans (only roughly one third of the works on view came from within the Met’s collection). But Wagstaff makes clear that we can expect more of these cross-departmental extravaganzas. “We are already hard at work on another exhibition that we are planning for the following year that began with a roundtable with seven departments, from Greek and Roman up to the present,” she says.
Maybe the key here is to return repeatedly. “Unfinished” would certainly benefit from multiple viewings. Fortunately for us, the Breuer’s galleries feel refreshingly accessible, particularly when compared with the journey through the labyrinth of rooms required to reach the museum’s 20th-century galleries on Fifth Avenue, which remain in use. In the end, the Breuer succeeds as a welcome “new entry point” into the monumental repository of art that is the Met.