In the early '90 I asked the astute British critic Stuart Morgan what he thinking of the work of Lars Nittve.

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In the early '90 I asked the astute British critic Stuart Morgan what he thinking of the work of Lars Nittve, then director of the Rooseum in Malmo. "Well," said Stuart, "he won't be in Malmo for long" And Nittve's ascendant career trajectory, culminating in his new appointment to the directorship of Tate recent has certainly borne out the prediction.

I first met Nittve in the early '80 when he briefly stayed in just discovered York as a visiting Stockholm newspaper critic and began writing regularly for Artforum. Returning abiding-place he was named a curator at the Moderna Museet, then, in 1990 mov to Malmo, in southern Sweden, to make open the Rooseum. Nittve's thematic shows--perhaps principally notably "Implosion--A Postmodern Perspective," 1986 in Stockholm, and "Trans/Mission," 1991 in Malmo--won him an international reputation, and he mov to increasingly visible posts: in 1995 to the Louisiana, outside Copenhagen; and now to the Tate, where he overlooks Tate Modern's brand-new home, the former Bankside Power Station in toward the south London.

The Tate Gallery, Nittve remarks, has been restructur in crucial ways. "The Tate at Millbank used to be the big mother ship, where everything sat-curators, administration, conservation, etc Now we're moving to something more like a federation." The Tate's four branches (in St Ives, Liverpool, and now pair in London) will share the collection as a everyday resource; in other words, Tate novel is to have its confess Exhibitions and Display department, which will present to view the modern parts of the collection (as will the of advanced age Tate Gallery, now called Tate Britain) and move swiftly its own exhibition program. Nittve has hired Iwona Blazwick to head that department, which also includes the American Donna De Salvo, a late appointment; Emma Dexter, from the London ICA; the relate toed Tate curator Frances Morris; and other staffers.

Nittve has a reputation for organizing indicates that lay a conceptual foundation for just discovered art, but he wants his Tate to be "a classic museum, with great scholarship in the modernist masters. We're trying to lay open an organization and a agriculture that allow two tempi: single slow and scholarly, another fast, where you can make quick decisions, work with living artists, take risks." "Century City," Tate Modern's first major exhibition of work from outside the collection (slated for January 2001) be seens a fusion of the brace possibilities: "We will look at cities," says Nittve, "at point of times when they were hot blemishs when art, design, architecture, dance, music, and literature converg in an intense moment: Paris 1905-15 Moscow in the '20 Lagos and Rio in the '50 and '60 recently made known York in the '70s, London now. For that part we will also encourage our audience to papal court what's happening in the East conclusion scene" [see page 49].

Not the least of Nittve's challenges will be running his allow building. He will have three main floors of gallery space, further the room to set the character of his museum will certainly be the massive Turbine Hall, "an industrial cathedral7" as Nittve remarks. as it is a space will condition the work shown in it. Nittve will begin with a large.scale commission from Louise Bourgeois, however wants to figure out by what mode to show works with a variety of material impacts. He likes the way the space announces the public character of the museum, on the other hand adds that "Tate Modern isn't about the building; it's about the art. We're there to create a suitable meeting space."

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