Think back to Hans Haacke’s work, from the Manhattan Real Estate show in (’71) to Helmsboro Country (’90): it exemplifies a line of criticism that institutions like MoMA are basically official organs of larger political and economic forces. That doesn’t mean their work shouldn’t be taken seriously, it mainly means that we do well also to invert how we interpret it. So, for example, MoMA’s endless parade of Braque–Picasso shows were less about ‘celebrating’ the ‘genius’ of ‘modern art’ than laundering reactionary power — by association, misdirection, suborning, etc. (This line of thinking is even more relevant with the Koch brothers than it ever was with Philip Morris: they’ve bought many more cultural institutions, and the silence about their influence is even more deafening.) So, from a certain view, the fact that this show is in bad taste (and that’s basically the complaint, isn’t it?) — that’s not a bug, it’s a feature, because it exposes how ‘lite’ pretty much all supposedly critical discourse around MoMA is.