Editing Guggenheim Museum Bilbao (section)

==Criticism==
The so-called "[[Bilbao effect]]" refers to how the museum transformed the city. The term, however, has also been employed by critics who have denounced the museum as a symbol of [[gentrification]] and [[cultural imperialism]].<ref>{{Cite web |title=Guggenheim Bilbao – DW – 06/03/2012 |url=https://www.dw.com/en/bilbaos-guggenheim-continues-to-divide/a-15904659 |access-date=2023-07-22 |website=dw.com |language=en}}</ref> ''[[The Wall Street Journal]]'' suggested that the Bilbao effect should be called the Bilbao anomaly, "for the iconic chemistry between the design of building, its image and the public turns out to be rather rare."<ref>{{Cite news |last=Rybczynski |first=Witold |date=2008-11-22 |title=When Builders Fall Short With 'Iconic' Properties |language=en-US |work=Wall Street Journal |url=https://www.wsj.com/articles/SB122731149503149341 |access-date=2023-07-22 |issn=0099-9660}}</ref>

Art critic [[Brian O'Doherty]] was positive about approaching the building but criticized the museum's interior effect, saying "[O]nce you get indoors things are a little different. Even the so-called site-specific works didn't look too happy to me. Most of the interior spaces are too vast." He went on to describe how works by [[Georges Braque|Braque]], [[Pablo Picasso|Picasso]] and [[Alexander Rodchenko|Rodchenko]] "looked absurd" and tiny on the museum's walls.<ref name=Fri>"Public Spectacle: Mark Godfrey and Rosie Bennett talk to Brian O'Doherty," ''Frieze,'' issue 80, Jan./Feb. 2004, p. 56.</ref>