Balancing Reorganization ëGyroscopeí Regroups Permanent Work Into New Categories by Heather Nalbone Museum-goers need not get too keyed up for the Hirshhorn Museum and Sculpture Gardenís ìGyroscopeî presentation. The museumwide display is more a restructuring of sorts than an actual exhibit, at least in the traditional sense. Not that sponsoring an exhibit was ever the intent. Curators, headed by Hirshhorn Director of Art and Programs Kerry Brougher, decided instead to plow through storerooms, take stock of pieces already on display, and come up with a new way to showcase the museumís holdings to celebrate its upcoming 30th anniversary. The idea was to group the artwork according to style rather than by country or chronology, in turn offering visitors fresh perspectives on the contemporary art that has long been the focus of the Hirshhornís spiraling galleries. It is, in short, spring cleaning. The museum has plans to add new works to its galleries through January, but as of early August, all new displays consisted of pieces taken from the already-existing permanent collection. When asked about any recent additions, an employee behind the information desk noted that the popular ìBig Manî statue was pur chased roughly two years ago. However, the vast museum has added more than 5,000 works since it opened in 1974. Even if the notion of a showcase is a bit misleading, the exhibited contemporary styles can at times be appealing. Ron Mueckís ìUntitled (Big Man)î fiberglass sculpture continues to be a big crowd pleaser. The pock-marked, nude giant of a man is so accurately formedóveins, toenails and allóthat it would be easy to mistake the sculpture for a living creature if he werenít seven feet tall. Another attraction is William Kentridgeís ìStereoscope,î an impressive and thought-provoking animated film that the renowned South African artist put together from a lengthy series of charcoal prints. The overall collection can be hit or miss depending on individual taste. There are interpretive works such as ìCombination (Six Hour Performance, 112 Greene Street, N.Y., June 5, 1971),î for which a nude Vito Acconci spent six hours caged with roosters. The ensuing photographs are displayed on poster board and accompanied by philosophical descriptions, such as ìMirrors: Enclosure: Self-Remembering.î Jim Hodgeís 1988 ìView,î located a few gallery rooms away, looks a lot like a flattened disco ball. Then thereís Wolfgang Laibís ìPollen From Hazelnut.î Itís unclear from the accompanying dateline (1998-2000) whether the roomwide spattering of deep yellow pollen actually took two years to create. The shortage of accompanying wall text leaves pieces such as these wide open to interpretation or, as was the case on a recent Saturday for several tourists, open to disinterest and even mockery. ìGyroscopeî arranges these works and others into three new categories, one for each floor of the building. The lower level is now reserved for contemporary paintings, sculptures and video-based works that serve to ìcapture the essence of a person.î Levels two and three also contain modern paintings and sculptures grouped loosely according to similar themes. There are rooms of portraits and rooms of bronze sculptures. And then there is also the sculpture garden, which is still the sculpture garden. ìWe have a responsibility to find vital ways to make art engaging and relevant for millions of Americans and visitors who come to our nationís capital,î Hirshhorn Director Ned Rifkin said in a statement. ìThe experience of viewing contemporary art Ö can be inscrutable and intimidating to people. ëGyroscopeí challenges the notion that there is one method for presenting art.î ìGyroscopeî does provide an entertaining break from the Smithsonianís more structured displays and blockbuster exhibits. The show places pieces made by lesser-known artists next to their more recognized counterparts, and it provides viewers with the opportunity to compare some of the crudest works to some of the most complex artistry of modern times. At the very least, it gives visitors a chance to take in works that would have otherwise remained confined to storage. ìGyroscopeî will remain on display through Jan. 4 at the Hirshhorn Museum and Sculpture Garden, Independence Avenue and 7th Street, SW. For more information, please call (202) 357-2700 or visit www.hirshhorn.si.edu. Heather Nalbone is a contributing writer for The Washington Diplomat.