
Adding nothing to the narrative or to the conversation about art is what they are doing when they bring up the «fact» that a painting by Piet Mondrian was hung, supposedly «upside down» in a German museum. And I say that this narrative/conversation means nothing because abstract art does not necessarily have to be hung «right side up» for it to be valid or for it to make sense. And in any event, to not risk damaging the painting, it will remain «upside down».
Abstract art removes itself from the metaphor of life, therefore it does not require the same rules as figurative art, which is making a realistic statement of life. Therefore, it makes no difference which way it is hung. Think of Jackson Pollock, he painted on the floor without caring, one way or another, where the top is and where the bottom is. Many times I have hung my abstract paintings in different ways just to bring out a different feel or emotion. Changing the perspective does not detract anything from the value of abstract art.
«New York City I 1941» was exhibited for the first time at the MoMA (Museum of Modern Art) in Manhattan in 1945. Since 1980 it hangs in the art collection of the German federal state of North Rhine-Westphalia in Düsseldorf. Susanne Meyer-Büser, curator for a new Mondrian exhibition, investigated and discovered the error. Her research led her to a photograph of Mondrian’s studio that was taken before his death and which was published in Town and Country magazine in June 1944. The photo shows the painting on the easel the right way. The painting is not signed and has no indication as to where the top is. Mondrian died without finishing this piece.

I wonder, if this is all a way to generate propaganda for the exhibition.
I invite you to delve deeper into abstract art… This video features, among others, work by Piet Mondrian.
Cheers…
Guess there is no way wrong to hang abstract arte.
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A fascinating perspective, Sir.
I appreciate how you’ve challenged the conventional notion of «right side up» in abstract art. Your explanation reminds us that abstraction invites interpretation rather than fixed rules, allowing viewers to experience a work from multiple perspectives.
The historical context surrounding Mondrian’s unfinished painting adds another layer of intrigue, while your thoughtful discussion encourages readers to look beyond headlines and engage more deeply with art itself. An insightful and stimulating read!
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