One of the stories the piece tells is about fairy tales, a genre that, in the past, certainly, only reinforced female stereotypes — woman as knowing gnome, as destructive witch, and so on — views which, in all probability, these castmates have absorbed and believed about themselves, not to mention other women, at one time or another.
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The 100 or so items on view through the end of the month are something to behold, each one a masterful fabric collage.
The 300 or so objects on view are all from the museum's old, vast and deeply intriguing collection.
So now, on view in Boston, her "Room for Margins" is credited as officially on loan from the Tate.
After that, though, the visitor would never guess that, as repeatedly demonstrated last week, of all the characteristics that define Britain, none is so dependably on view as sycophancy.
(The museum owns more than 200 sheets by Giambattista and about 100 by his son Domenico; roughly half of the 100 or so drawings on view bear the Tiepolo brand).
The problem with such a play-by-play account of their collection's development is that the 50 or so works on view are barely a capsule version of it.
In fact, only half a dozen of the 50 or so works on view have entered the permanent collection in the past few years, which throws a spotlight on the loans noted in the exhibition title.
