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Here is a problem with the exhibition.
The most glaring problem with the exhibition is that there is no coherent definition of what "Central and Eastern Europe" means in the 21st century.
Also needing mention is an obvious problem with the exhibition's installation, especially in the final room.
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This feels like a concession to the typical Met patron, and is a good example of the problem with this exhibition: the anti-establishment story of the punk movement cannot properly be told in the hallowed costume section of the Met.
The essential problem with this exhibition is that, for all the diligent research by the curators and other contributors to the catalog, it fails to find a sufficiently strong narrative thread and its "American Impressionists" subtitle is applicable to hardly any of the works on show.
The problem with this exhibition has nothing to do with populism.
The problem with this exhibition is that it is simply not nuanced or original enough.
The problem with this exhibition is that it claims to be what it is not.
Part of the problem with this exhibition, which is touring from a museum in Oslo, is that it was principally organized for a European audience.
The real problem with this exhibition is that it fails to communicate the sensationalism and excitement of Delacroix himself.
The fundamental problem with this exhibition is that ancient materials, even stone, are preserved far worse by the sea than the hot sands of Egypt.
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