Another species of table altogether is on display in a cosmopolitan New York office, where Aerin Lauder Zinterhofer, a vice president in Estée Lauder's cosmetics empire, rules over perfectly ordered museum-of-modern-art interiors, and where no dust is permitted to settle.
Federal officials have ordered a museum in Tallahassee, Florida, not to return a painting on loan from Italy because it may have been stolen by the Nazis during World War II, the head of the museum said.
They asked the court to order the museum to relinquish the painting and pay $1 million in damages.
Christoph Büchel, a Swiss artist who has been at loggerheads with the Massachusetts Museum of Contemporary Art over a huge installation he began there last year, asked a federal court to order the museum, in North Adams, to dismantle the artwork, which remains unfinished.
"Of course chronology is a very traditional way of ordering a museum," says Tate Britain director Penelope Curtis, whose ideas for just such a re‑hang were integral to her being appointed in 2010.
These works are visually catchy, but with their too obvious lessons about African-American identity and self-esteem, they look as if they were made to order for museum education departments.
And Mr. Kerik ordered that the museum hire its own civilian executive director, a post that Sergeant Gambino filled since the museum opened two years ago.
Some of the crafts can be ordered from the museum store, (323) 857-4677.
Last year the United States Attorney for the Northern District of Florida ordered the Brogan museum to hold on to the painting until the ownership question could be sorted out.
At one point the museum ordered an aerial search for Mr. Thrapp when it feared he had been lost in a solo exploration of cliff-dweller ruins in an unmapped canyon region of southern Utah.
