“You can neutralize the whole space and have it be more like a gallery for people to come in and see something that might be more installation-based. But it can also accommodate the opposite end of the spectrum and be a proscenium space with frontal lighting, a curtain, a backstage, and raked seating. And then everything in between. The terraces are exciting because they connect us with the city—people can hear things from the Highline or see things outdoors. There’s a lot more opportunity for artists to speak out to the city or take influence from outdoor surroundings and bring them into the museum.
The first performance project that we’re doing is with the artist Yuji Agematsu. We commissioned him to take a portrait of the neighborhood and the changing site of the museum as it was built, as well as the Meatpacking district and the Highline and Hudson Yards area. So he walked around for over six months, starting last summer, taking photos of the street, of flowers, of the building, of fences, the water, but no people. His work will be displayed via 10 slide projectors throughout the space, mapping the city around us onto the theater. He’ll also create sound improvisations, so it will be performance too.” —Greta Hartenstein