Therein lies the beauty of this effort by the MoMA. It’s a nod to typographic history — an action worthy of respect. Bruce Mau was approached by MoMA to “explore a range of possibilities for the new building’s signage — including rounder, more symmetrical typefaces.” What could have been an excuse to put his own voice and indelible mark on the MoMA, Mau decided to keep the same typeface as it was intended from the beginning — Franklin Gothic.
Enter Matthew Carter. Which can mean nothing but success. A nip here, a tuck there and voil� — a historically correct logo is born.
But will people really notice? Or care? Will it make a difference for the MoMA?
I, for one, don’t give a damn what people think or if they notice. I applaud the museum for having the guts to spend millions of dollars in implementing this “new brand” that will probably go unnoticed.