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　　In New York City alone, six major institutions have spread up and out into the air space and neighborhoods around them or are preparing to do so.

　　The reasons for this confluence of activity are complex, but one factor is a consideration everywhere -- space. With collections expanding, with the needs and functions of museums changing, empty space has become a very precious commodity.

　　Probably nowhere in the country is this more true than at the Philadelphia Museum of Art, which has needed additional space for decades and which received its last significant facelift ten years ago. Because of the space crunch, the Art Museum has become increasingly cautious in considering acquisitions and donations of art, in some cases passing up opportunities to strengthen its collections.

　　Deaccessing -- or selling off -- works of art has taken on new importance because of the museums space problems. And increasingly, curators have been forced to juggle gallery space, rotating one masterpiece into public view while another is sent to storage.

　　Despite the clear need for additional gallery and storage space, however, the museum has no plan, no plan to break out of its envelope in the next fifteen years, according to Philadelphia Museum of Arts president.

　　博物馆

　　从波士顿到洛杉机，从纽约到芝加哥、到达拉斯，所有的博物馆或者正在筹划、建造或者正在完成大规模的扩建计划。 这些计划或者已经根本性地改变了博物馆门面与展厅的设计，或者预期在不久的将来会这样做。 单单在纽约市，六个主要机构或者已经向空中和周围扩展，或者正准备这样做。大家一致行动的原因是复杂多样的，但其中的一个因素是普遍考虑的空间问题。 随着收藏品的增多，也随着博物馆的需要和功能的变化，空间已经变成了一项非常珍贵的商品。在我国，也许没有任何其他地方比费城艺术博物馆更符合这个事实。 这个博物馆几十年来一直需要额外的空间，十年前进行了最后一次重大的翻新。 由于空间紧缺，该艺术博物馆在考虑购买与受赠艺术品已越来越谨慎，有时甚至放弃增强艺术收藏的机会。由于博物馆的空间问题，将艺术品脱手或者说卖掉已经有了新的重要意义。 博物馆馆长们被迫巧妙轮换利用陈列馆的空间，轮流着把一些艺术杰作向公众展出，而把另一些送入存储室中。虽然对额外的陈列室和存储室空间需要很明显，但据费城艺术博物馆经理讲：博物馆还没有在未来十五年打破这个束缚的计划。