From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.

In this quote, Martin Filler, an architecture critic, reflects on the early stance of the Museum of Modern Art (MoMA) and its relationship with the Bauhaus movement. MoMA, from its inception, adhered to the Bauhaus's strict rule against design that could be seen as decorative. This belief stemmed from the Bauhaus philosophy, which prioritized functionality and simplicity over ornate decoration. According to Filler, this preference shaped the museum's understanding and interpretation of Modernism for many years, influencing the way modern art and design were presented and appreciated.

The Bauhaus was a revolutionary design school founded in Germany in 1919, emphasizing functionalism and minimalism in art, architecture, and design. The movement’s belief in utility and its rejection of superfluous decoration were key principles that influenced MoMA's early collections and curatorial approach. This strict prohibition against decorative design meant that MoMA, in its early years, leaned heavily toward more austere and geometric representations of Modernism, often at the expense of other forms that might have been considered more expressive or ornamental.

Filler suggests that this bias distorted MoMA’s view of Modernism, limiting its ability to fully embrace the diversity of ideas within the movement. By excluding designs that contained any form of decoration, MoMA inadvertently narrowed the scope of what could be considered part of the Modernist ethos, favoring a more reductive and rigid interpretation. This skewed perspective lasted for decades, preventing the museum from recognizing the full range of aesthetic possibilities that Modernism offered.

Ultimately, Filler’s critique serves as a reminder of the institutional influence on art and design movements, particularly how ideological preferences can shape cultural institutions' perspectives. While MoMA's early approach was grounded in a specific vision of Modernism, it also limited the scope of what could be considered relevant or worthy of inclusion, reflecting the tension between idealism and the evolving nature of artistic expression.