It might seem unusual that MoMA’s 1939 building, which corresponded in so many ways with the International Style, should host a major retrospective of the work of Frank Lloyd Wright the following year. Wright, after all, had rejected many of the precepts of the hard-edged industrial imagery of the younger European architects with whom he had shared gallery space in the Museum’s first architecture show eight years earlier. But over the course of the 1930s MoMA looked more and more to issues of regional expression, American-ness in architecture, and an embrace of natural materials, notably wood. “Frank Lloyd Wright, American Architect"—which Wright took full control over, often to the frustration of nominal curator John McAndrew—was intended to culminate in a full-scale wooden Usonian house in MoMA’s new Sculpture Garden, seen through the plate glass windows beyond Wright’s display of his drawings and models. The show was at once of and by Wright, and focused overwhelmingly on his most recent work. Now, nearly 80 years later, Wright returns to MoMA in the exhibition "Frank Lloyd Wright at 150: Unpacking the Archive,” on view through October 1.