Thomas Krens’s career, which “seemed to have hit the buffers at the start of the year, when the supremely generous chairman of his trustees, Peter B Lewis, resigned in disgust at his director’s manic, expansionist policies, is back on track. He has come up with the one thing that cannot but command the attention of his severest critics: an unmistakable blockbuster work of art. Krens has been instrumental in the installation of Richard Serra’s The Matter of Time: several hundred tons of raw steel in a sequence of rippling twisted curves.”