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Pavel Althamerís unoccupied cross for his crucifixion performance in "Skin Fruit" at the New Museum
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by Jerry Saltz

If I were the New Museum, Iíd have whiplash by now. Since opening its spiffy new Bowery building in 2007, the place has gone from being champion of the underdog and advocate of the experimental to star-struck promoter of A-list artists and international cool hunter. With "Skin Fruit: Selections from the Dakis Joannou Collection," curated by the artist Jeff Koons, this much beloved yet deeply frustrating institution has crossed some invisible line, its already thin credibility stretched to the breaking point.


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