I couldn't help but gag at the take-out in the Philadelphia Inquirer on Sunday from the Peter Schjeldahl article in the New Yorker about the Barnes, because it misrepresented the piece. The Inky ran a chunk from the center of the piece, in favor of the Barnes' display system, and left out the all important context of the piece--the beginning and the end--which expressed the case for moving the Barnes and the author's ambivalence.
Furthermore, to represent the art world as a united front in favor of keeping the Barnes where it is, is also misleading. Yet that's what the Inky did.