Beginnings 

My first introduction to the MET was when I saw “The Lightning Thief,” the first installment of Percy Jackson and the Olympians, when I was a kid. Having then read Rick Riordan’s book series, I was hooked on visiting as a huge fan of the series. It was not until my early(-ish) adulthood when I had the opportunity to go to the MET, but this time, my reason expanded beyond seeing this iconic film/book setting. I visited the MET the summer before I started my Master’s degree in Museum Studies and went on a New York GLAM (galleries, libraries, archives, museums) spree. Turns out, the MET has more to offer than a loose connection with Percy Jackson.

Permanent Collection

There were many opportunities for delight and surprise during my visit. Unexpected emotions arose when I saw pieces such as the Tiffany Garden Landscape and Fountain; Still Life with a Glass and Oysters by Jan Davidsz de Heem; and the Afrofuturist Period Room, specifically the Kitchen and Hearth section. Each of these objects spoke to me and pulled me in, eliciting emotions like curiosity, awe, and warmth, respectively. 

The gorgeous glass-enclosed Charles Engelhard Court was a great place to reset and combat information fatigue. The natural light that shined into the room alongside the lively American Wing Cafe breathed life into the space. The sounds of the cafe, water fountain, and conversations invigorated my senses and I felt inspired and transported into another time. Feelings of contentment and calm washed over me in the courtyard, offering a reprieve from the New York city hustle, when I took in the Neoclassical facade of the US Bank, American sculptures, and life unfolding around me.

Seeing objects I studied during my Art History degree was like seeing a celebrity in real life. Coming across the familiar pieces in the Greek and Roman Gallery was like greeting an old friend like the kouros, so-called Venus Genetrix, Capitoline Aphrodite, old woman, and terracotta kylix.

Temporary Exhibition: Superfine: Tailoring Black Style

The Superfine exhibition explored dandyism in the contexts of function and society; “dandyism is visualized as a vehicle of productive tension between being fashioned and fashioning the self” (the MET). Superfine had a brilliant exhibit design that was very dynamic and dramatic. I had yet to see an exhibition that cohesively explored and displayed so many art mediums in such a striking setting. The room felt all-encompassing with many things vying for your attention in a way that provoked wonder rather than anxiety. Superfine was truly immersive and engaged the senses to encourage staying present and grounded in the space. It was an active, rousing experience relying on the quality of design, storytelling, curation, and interpretation.

The exhibition space was quite busy so it was difficult to fully register the 12 conceptual groupings which explored dandyism’s defining characteristics. Even if I did have the time and space, it would have been difficult to grasp the complexity of the exhibition in one go. However, the resources the MET provides supplements the exhibition in case visitors aren’t able to comprehend everything the first time around. The fact Superfine isn’t easily comprehensible isn’t a drawback but rather one of its strengths as its power stays with the visitors after they leave and encourages them to learn more and think deeper about style, presentation and identity. When concepts are easy to comprehend without contemplation, I find exhibitions less memorable and don't fully succeed in fulfilling their role of creating spaces for dialogue, thought and critical thinking. Superfine was an illuminating example of how an exhibition’s design can transform a space and themes which elicit thought long after leaving.