Passing the Ellsworth Kelly section in the recently remodeled SFMOMA, I suddenly worried about whether or not I placed my coffee cup in the right bin, the triptych of civic responsibility causing a Pavlovian response of doubt and shame. One will quickly walk past museum rooms whose contents are prematurely judged as not being interesting enough to hold one’s attention, as I did here, using the section as a shortcut to Agnes Martin, in whose dedicated room a patron’s child had a fit. Minimalism’s problem, I think, is that the conceptual conceit can only be actualized as an executed idea, stamped on an object in space, an aesthetic errand dutifully completed in the supposed name of art. It doesn’t tug at the soul, however antiquated and sentimentally ghoulish such a spirit might seem in an enormous modern and generously lit room, always a bit below room temperature, like a morgue, grand white walls running upward towards the skylights. Guards, whose native islands were unruly colonized, despondently stand in geriatric loafers, their blazers derisively provided by the house, as if they showed up to a fancy restaurant under-dressed.