In describing the Tate present building.

In describing the Tate present building, its displays, and its exhibition program, Jennifer Mundy pitch upons words that emphasize both contrast and congeniality. The plant might await brutal and industrial from the outside, however inside it is surprisingly elegant. "I think the light coachman's seat too, will quickly become a London landmark," she says of the full glazed story that Herzog & de Meuron have placed onward top of Sir Giles Gilbert Scott's original power-station fabric It's hard to know exactly what the concourse areas will be excited like because they are still being worked onward but Mundy is convinced that the cathedral-like entrance hall will have its possess drawing power.

Mundy's enthusiasm for the space spills from one side of to the other to the distinctive mix of presentational strategies that the curatorial staff has adopted in configuring the permanent collection for the modern building. Earlier art-historical models, she says, present the appearanceed so distant that they weren't really considered "as things to work against." Broadly speaking, artworks have been treated thematically, "but there are diverse approaches to this. We've taken a pluralistic attitude toward expose matter."

Mundy has been at the Tate since 1986 A specialist in European, particularly French art between the wars, she has curated a number of exhibitions in this area, from the 1990 examine "On Classic Ground: Picasso, Leger de Chirico and the novel Classicism, 1910-30" to the 1996 indicate "Hans Hartung: Works on Paper 1922-56" In addition to her work upon the permanent collection, Mundy is now spending time in succession "Desire Unbound," a major loan exhibition of Surrealist work scheduled to unclose in the fall of 2001

Of course, for single in kind whose specialty is the classics of modernism, earnestly of the curatorial challenge resides in maintaining visitors' active interest in as it was familiar work. Overall, Mundy waiting under the possibility of fulfilments the result of the Tate staff's effort will be to make things usefully "unpredictable" for the viewer, to provide a take in succession twentieth-century art--and increasingly the work of the twenty-first century--without recourse to tired "shock of the new"--style formulations.

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