The terror and excitement of a century of war, displayed in objects ranging from a vivid description by a schoolboy of a Zeppelin crashing 100 feet from the country house where he had been sent for safety, to a Reuters Land-Rover, still with its "Press" signs, which was damaged in a rocket attack in Gaza, will go on display when the Imperial War Museum reopens to the public on Saturday.
The 50 objects in "A Century of Design, Part II: 1925-1950" include furniture, glassware, ceramics and textiles by Marcel Breuer, Ludwig Mies van der Rohe, Alvar Aalto and Charles and Ray Eames.
Some charge that it would produce a museum piece which blithely ignores more than a century of architectural and technical progress; others object that it relegates the social housing element of the Rogers plan to outbuildings.
Then, around 2025, after nearly half a century of boldly going where no manmade object had gone before, the team will shut down the probes while communications are still available in a somewhat sentimental effort to keep the Voyagers aimed straight and true.
With the discovery during the latter half of the 20th century of more objects within the Solar System and large objects around other stars, disputes arose over what should constitute a planet.
Many of the items are from the 19th century, including a large selection of objects made for tourists.
But at this fair brand-new art knows its place in a parade of objects from different centuries and cultures.
It is in those galleries that the 19th-century story unfolds through a succession of objects tellingly deployed by a team of Met curators led by Morrison H. Heckscher, chairman of the American Wing.
To chronicle an entire century, though, hundreds of objects would be needed.
As a result of the inadequacy of monadic logic to represent an infinity of objects, the eighteenth-century mathematician relies on intuition to deliver the representations necessary for mathematical reasoning.
