"I am used to building office buildings," said William J. Maloney, the project director, who came to the Modern five years ago.
The opening of Tate Modern three years earlier, as well as an economic boom and the opening of international dealers' galleries in the capital such as the Gagosian, Hauser & Wirth and Sprueth Magers all contributed; some have also credited Frieze's influence.
The two have collaborated several times, with the help of Arup, on giant artworks, including Marsyas, a shocking red PVC membrane stretched across the Turbine Hall of Tate Modern nine years ago, and Tenemos Britain's biggest sculpture across the docks at Middlesbrough this summer.
He tried to raise his game in 1994 with the self-explanatory fantasy Timecop, but finally went all post-modern two years back with JCVD, an alarmingly self-referential film about an action star whose career is in ruins and who tells the audience at length about his drug and relationship problems.
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Before being lured to the Met, he was at Tate Modern for six years, becoming curator of international modern art and working on exhibitions including Cy Twombly: Cycles and Seasons (2008) and Edvard Munch: The Modern Eye (2012).
This collaboration between John and Tate Modern has been two years in the making.
The first gallery at Tate Modern covers only two years – 1950-2 – and yet it feels like the big bang.
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He was a curator at Tate Modern for five years before joining the Metropolitan Museum of Art in New York.
Before Monkey Bar, she worked at Charlie Trotter's in Chicago and was at the Modern for four years.
