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Buster Keaton knows how to poke fun at modernity. In the filmmaker’s 1920 silent comedy “One Week,” Keaton and his wife spend seven days burdened by an unusual wedding gift: a prefabricated home. The film serves as a most suitable opening to MoMA’s new exhibition, Home Delivery: Fabricating the Modern Dwelling, curated by Chief Curator of Architecture and Design and Columbia Architectural History Professor Barry Bergdoll.

For Columbia students pursuing banking internships during the summer, the corporate environment is usually a boring place filled with endless rows of cubicles and identical conference rooms. As an intern at JPMorgan Chase (JPMC) working in the Private Bank, I had the unique opportunity to view a collection of art that is unusual on the New York scene.

The beauty of living in New York is that you can walk into a museum and suddenly be in the presence of a painting worth $135 million. In this case, that painting is the Portrait of Adele Block Bauer by Gustav Klimt, and is on display at the Neue Galerie.

By the time the major retrospective of Gabriel Orozco’s work, curated by Ann Temkin, opens at the Museum of Modern Art in December 2009, Orozco will likely have reinvented his practice of making art yet again.

On a blistering cold Tuesday afternoon, Paths to the Press: Printmaking and American Women Artists, 1910-1960 at the Wallach Art Gallery at Columbia University serves as a perfect oasis of warmth and comfort.