“Now, as the foundation, in financial trouble, moves ever closer to leaving its odd home and transplanting its collection to a new building planned for downtown Philadelphia — a decision viewed as essential by some and apostasy by others — Harry Sefarbi is often seen as more than just a veteran teacher of Barnes’s method. He has become a voluble, cane-carrying symbol of all the ethereal qualities that critics of the move fear may be lost in the foundation’s translation to a sleeker, more contemporary space.”