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To understand the anxiety that floats beneath the boasts of Level Two, we have only to visit the vaulted sepulcher of the Dallas Museum of Art. Solemnly designed by Edward Larrabee Barnes, it opened in 1984, boasting “the finest collection of post-war American art” in the Southwest. It also laid claim to the country’s “finest collection of Japanese-influenced American silver,” “the largest display of Chinese export porcelain,” “the largest Robert Rauschenberg painting,” the “largest painting by Mexican artist Rufino Tamayo,” and finally, “the world’s largest indoor sculpture by Claes
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