Payton's Place

Her greatest accomplishment, though, was 2006's Decades of Influence and its followup, Remix. These shows attempted the not-inconsiderable task of surveying contemporary art in Colorado from 1985 to the present through the work of around 100 artists. Some of Payton's choices were questionable, in my opinion, and some of her omissions were even more troublesome, but two-thirds of her picks were spot on. In fact, I'd go so far as to say that any exhibition organizer who compiled a list on the same topic and who did so as conscientiously as Payton would have wound up with almost the same roster. The show was a groundbreaker, representing the first attempt by anyone to codify the current period into a historical context and establishing the credibility of recent Colorado art. It was also the last hurrah for the MCA's old Sakura Square location.

Since moving into the new building, Payton has overseen a crowded schedule, with six or seven shows running simultaneously, something that would have been impossible in the MCA's former digs. This works because of a programmatic decision Payton made even before Adjaye was hired. She wanted the new building to have a group of fixed gallery spaces, each with its own mandated use. One is for photos, one for new media, one for works on paper, one for large works, one for installations, and, finally, one for projects. In addition, The Whole Room, on the lower level, can be a multi-purpose space serving as both a meeting room and an ad hoc gallery.

Interestingly enough, the idea of clearly delineated galleries is sort of a classic modernist idea that's out of step with recent museum-design philosophy, which calls for changeable spaces with moveable walls. Having dealt with the MCA spaces over the past several months, I can say they function beautifully, and though currently each has been given over to a separate solo, I can see how easily they could be used for group shows as well. And the four spaces on level two could easily be combined to present one large show installed in all of them, since one space opens up into the next. Even the spacious corridors could be drafted into use as extensions of the exhibition spaces.

I'm really sorry that Payton is leaving the MCA, and I'll keep my fingers crossed that the board will find someone up to filling her Pradas — but I won't hold my breath.