Visit instead the Grande Galerie de l'Évolution, a 19th-century building with a translucent glass ceiling and galleries supported by handsome iron columns.
Osaka-born, Berlin-based performance and installation artist Chiharu Shiota ensnares walls, ceilings, and gallery floors with yards and yards of wool thread.
The room is prettily designed and comfortable, with flags of the Caribbean covering speakers hung from the ceilings and a gallery of album covers on the walls in the back room, where a disco ball hangs.
They will move slowly, at 70cm a minute, with the position of one bed determining that of the other, controlled by a range of navigational systems including radio beacons in the gallery ceiling, and a laser which sweeps the gallery floor to detect obstacles.
Equally impressive are pieces commissioned to capitalize on the museum's soaring ceilings and vast galleries.
As if to point up the gallery-to-street connection, lengths of various new cloths hang free in bannerlike rows from the gallery ceiling and are draped over barrel-like metal stands.
A tangle of handmade black leather straps, called "random intersections #7," tumbles from the rafters of the gallery ceiling and refers to horse bridles and the memory of the Società Ippica Torinese, Carlo Mollino's equestrian school in Turin, which was built in 1937 but destroyed in 1960.
There also is a roomful of Roy Lichtenstein paintings, whose Pop Art dots echoing the comics that inspired them interact nicely with the Veil, which is visible in the gallery ceiling and through a window.
The exhibition, which will be reprised at the Brooklyn Museum in 2014, features sculptures and installations, including an enormous snake made out of children's backpacks that slithers along the galleries' ceiling and "Kippe," an agglomeration of wood pieces from Qing dynasty temples.
