I just saw you answer an anonymous question about FLW, and I work at an American art museum where we disassembled an entire FLW house and relocated it (from New Jersey to Arkansas) for preservation reasons. What's your opinion on moving someone's work to a different location? The specific house I'm talking about is the Bachman-Wilson House, just to give some background.
I think is the last option when a structure with historical value is about to be lost.
In my opinion, and knowing the specifics of this project, the value, historical and academic, of saving the structure makes it worthwhile. The Usonian houses by FLW were designed with the vision of belonging to all of America, not so site specific like say Fallingwater or the Guggenheim Museum, and as such I can justify in my mind it being moved as acceptable. As a side note, that is not the only Usonian house that has been relocated and made available for the public to experience.
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.