“After a period in which strongly sculpted museum buildings have dominated, often upstaging their contents, Taniguchi’s MoMA represents a return to the time-honored way of housing art in lofty rectangular rooms. Because it looks so coolly cerebral, it is hard to imagine people making pilgrimages just to see the architecture, as they do with Frank Gehry’s Bilbao Guggenheim in Spain. Taniguchi’s exquisite white-walled spaces are so understated that they verge on invisible, which is exactly what MoMA wanted. The art remains the main draw. The architecture merely provides the frame.”