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Last week, the Museum of Modern Art moved its hundred-and-eighty-thousand-volume library to a new, temporary home in Long Island City, Queens. A lavishly refitted factory once occupied by Swingline, the stapler company, will be MOMA's headquarters from late June, when it opens to the public, until at least 2005, while the site on Fifty-third Street, in Manhattan, is renovated and expanded.
The museum has spent fifty million dollars to purchase the old factory and turn it into three huge galleries, with tens of thousands of square feet of storage space. "I saw it when it was Swingline staple," Bill Maloney, MOMA's project director, said last week as he toured the site with Richard Vikse, the project manager. "There were these huge coils of aluminum that I guess would just end up as staples in a box."
Soon, the building will be full of priceless works of art. In order to protect the collection, the factory has been outfitted with the latest mechanical and air systems: giant computer-monitored vents, dust collectors, air filters, "smoke purges," and special fans that suck out invisible toxins, such as the vapors emitted by plywood. ("Off-gassing," as it's called, can damage the art.) "We have a guy on board who has done a lot of hospital work," Vikse said. "He's done operating rooms that don't have as stringent requirements as we do."
Security, as one might imagine, is a major issue. The building has a fenced-in roof with "a perimeter that can't be broken," Vikse says, and a sophisticated network of video cameras, motion detectors, and beam sensors. "We could show people the control room," Maloney says, "but then we'd have to kill them."
With all the care being taken to protect the art during its stay in Queens, administrators are also alert to dangers that might befall it during its transfer from Manhattan, which will begin later this month. The museum has calculated that it will take three hundred and eighty-five trips to empty MOMA of its entire ...