Photo by Cameron Wittig

Philippe Vergne

Richard Serra Andy Warhol Dan Flavin Michael Heizer Donald Judd Francis Alys Tacita Dean Joseph Beuys

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I have enormous admiration for Lynne and her work. I do not anticipate division. I rather think of our roles as complementary and based on trust and respect.

Dia also has a problem in terms of how it is perceived. Its taste seems rooted in the cool minimalism of the mid- to late-twentieth century (as exemplified by the collection at Dia: Beacon). Will you change that?

Stillness has never been part of Dia. If one pays attention to Dia’s recent programs, including Jorge Pardo, Francis Alÿs, Tacita Dean, the upcoming Zoe Leonard, and the Web projects, I believe you get the beginning of an answer. With a great legacy comes a bright future.

You recently told a Minneapolis Arts Commission forum that “entertainment is a dirty word.” Can you explain what you meant by that?

I believe I said “blockbuster” is a dirty word. Remember, I did an exhibition called “Let’s Entertain.”

Can you explain the distinction you’re making?

I am very interested in “entertainment” in the Pascalian sense of divertissement or in the Brechtian, theatrical understanding of the word — learning through pleasure. I do think institutions can learn from this. Aiming for blockbusters is another question — it is about fulfilling immediate desires. It is flirting with entertainment or, let’s say, a one-night stand in which the two parties do not share the same expectations.

How would you respond to the suggestion that with Kathy Halbreich now at MoMA and Richard Flood at the New Museum, your arrival at Dia means that there’s a Walker mafia invading Manhattan?

It is not an invasion. It is more like a family reunion.

On the other hand, where does your departure leave the Walker?

My departure leaves the Walker with an amazing staff, a great collection, fascinating upcoming programs, a new leader, a committed board, and room to dream for the next chief curator. And I hope a bit of my DNA here and there.