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I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how powerfully the decor of a cabinet museum can promote this goal until I saw the Dublin [Natural History Museum] fixtures redone right. […] The exuberance is all of one piece—organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation—a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.
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"Cabinet Museums: Alive, Alive, O!", p. 244

 

Stephen Jay Gould

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The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.

 

Dana Gioia

 

This sprawling epic is as lively as a natural history museum diorama.

 

Stephanie Zacharek

 

I worked at the Smithsonian for a number of years. I had a very low-level job. I didn't have much responsibility, but I did have a Smithsonian ID badge that gave me access to all of the museums on the mall, and also the National Gallery of Art. In those days, you could go anywhere, which you can't do now. You could get in behind the scenes and wander along these tunnels. There is a scene in "Prince of Flowers" where the characters are in the Paleontology Department of the Museum of Natural History where they really do have this Raiders of the Lost Ark-type vast space filled with all of these unopened cartons. ... I was really entranced with the idea of living in a museum. In Winterlong there are two parallel storylines and the one for Raphael takes place among this guild or tribe of curators who live in the ruins of the Smithsonian Institution.

 

Elizabeth Hand

 

Clear out 800,000 people and preserve it as a museum piece.

 

Frank Lloyd Wright

 

Greetings, conversationalists across the fruited plain, this is Rush Limbaugh, the most dangerous man in America, with the largest hypothalamus in North America, serving humanity simply by opening my mouth, destined for my own wing in the Museum of Broadcasting, executing everything I do flawlessly with zero mistakes, doing this show with half my brain tied behind my back just to make it fair because I have talent on loan from . . . God. Rush Limbaugh. A man. A legend. A way of life.

 

Rush Limbaugh