Philip Guston in his Woodstock studio, 1964. (Photo by Dan Budnick / Courtesy of Laurence King Publishing)
You might remember that a retrospective of the paintings of Philip Guston was planned to open last June at the National Gallery of Art in Washington, and would then have traveled to Houston, London, and Boston. When the Covid-19 pandemic forced the museum to close, a new tour schedule was set: The show would open at the Tate Modern in London in February 2021, with dates in Washington, Boston, and Houston to follow.
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If all had gone well, I might have flown to London to see that show and write about it. But the Tate is closed again, and I’m not flying anywhere, thank you. Besides, the National Gallery and its sister institutions chose to put off the Guston show until 2024 and then, after an uproar, until 2022. This is not the time or place to thrash out the rights and wrongs of the museums’ decisions and redecisions, or of the objections
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