First, I stood in the doorway, making a quick survey of the work as a whole. The pieces date from 1848 to 1997. What we don't see, and we never seem to think about, is how a show like this happens. That's important, because anything that we the viewers notice might detract from the impact that a show has. Sure, I knew the Crocker had offices, but for some reason I'd never dreamed that they were so contemporary, with cubicles even.
Real business is conducted here.
Everything is done with strategy in mind. Decisions must be made. Then, as it comes time to set up the show, you must direct three to four technicians to spend a few weeks painting walls, adjusting lights and improving the physical space. Many of us never consider these aspects of presenting an exhibit. For perspective, after talking to Shields and Shelnut, I revisited the Evans show.