Abstract

One of the world’s largest collections of European modern art, held by Centre Georges Pompidou, was displayed for the first time in a thematically-curated exhibition, The Big Bang. This review article evaluates the merits and permutations of thematic curation, in lieu of The Big Bang’s relation to previous instances of thematic curation of significant museum collections, most notably at the Museum of Modern Art and Tate Modern. The Big Bang is also considered against the ideological underpinnings of both thematic and chronological curation, and their implications for the future.