The first thing you learn when you spend a day at The Metropolitan Museum of Art is that a day is comically not nearly enough time to see everything. A year at The Met might do. And be sure to capitalize that T in “The” because the official name is what it is and details matter. In matters of affectionate familiarity, it’s perfectly fine to simply call it The Met.
Comic or not, I had one random Thursday for a Met marathon. The only thing to do is to get to it—to meander through the maze of exhibits, to see, to linger on art that whispers for you to be with it for a moment, to eavesdrop on tour guides as they drop insight on what seemed randomness a moment before, to gawk at the famous and smile at the packs of teenagers giggling about the lack of fig leaves, and to move relentlessly through as much of the collection as time and mental capacity allows. As with all things, we hope to return again one day and pick up where we left off. Like that expression about the river, we will have changed in the interim, and everything we see will seem different with that new perspective.










Background: Finials from Ambrym Island artists; Fanla village, Vanuatu

Possibly Babungo/Vengo people
Cameroon, ca. 1940




German, mid-17th century
Lindenwood with traces of pigment, spruce base



Attributed to Désiré Muller, ca. 1900





Asmat artist; Ambisu, Ajip River, Casuarina Coast, West Papua

Greek, late 6th-early 5th century, B.C.

Workshop of David Roentgen, ca. 1780-90



Wuramon (spirit canoe)

Head of Medusa
Roman, 1st-2nd century A.D.
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