In The New York Review of Books, Jed Perl writes, “‘Picasso Sculpture,’ which will travel to the Musée Picasso in Paris, is among the largest exhibitions of the artist’s work in three dimensions ever held, and it is no surprise that it has been received with rapturous reviews in New York. Through much of his life, Picasso was reluctant to exhibit his sculpture in public—most of it remained in his own possession—and it was only in the mid-1960s, when he was in his seventies, that he agreed to make generous loans to retrospectives in Paris, London, and New York. MoMA has pulled out all the stops for what is the second major exhibition of Picasso’s sculpture in this country; the first was also mounted at MoMA, in 1967. The fourth floor of the museum, generally devoted to the permanent collection, has been emptied and filled with Picassos, the installation so spacious as to feel almost stark, an impression increased by the absence of identifying labels on the works (a brochure available at the beginning of the show contains this information).”
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