Though the gardens honor the full Calder lineage, their focus is on the twentieth-century inheritor. They avoid the trap of the monographic mausoleum—the now familiar single-artist shrine that can make the work feel lonely in its completeness rather than alive in its variety. Herzog & de Meuron has designed a deliberately “irrational” exhibition space, set largely below the Parkway and sheathed in reflecting steel, so that the building vanishes into air (as architects like to say), mirroring the gardens around it rather than asserting its own profile. Those gardens, intended to be untamed, animating, and informal, are the work of Piet Oudolf, the creator of the High Line plantings, in New York. Though unfinished on a recent Monday visit, the gardens already promise to grow into wild abundance.journey-inline-newsletterinline-newsletter