How apt that the red barn on top of the Metropolitan Museum of Art is called Transitional Object. It’s a term psychologists use to describe that which weans us away from, while providing the comfort of the original—think pacifier, though such objects might also be defined as props used to test reality. Could the same be said of a film? Through Alfred Hitchcock’s click here see turning point essay contest get link journalism ethics research paper topics follow site go see url enter site source url creating a thesis worksheet combining viagra and alcohol source link demi pilule de viagra cialis san marino can you take melatonin with nexium heal acid reflux see url according bible subject thesis causes of medication errors in nursing essay follow site seroquel habitual slavery reparations essay follow link how to write a book report university level les cordiers juge et flic generique viagra Psycho, a generation discovered decidedly adult mysteries and horrors. The artist Cornelia Parker has plopped one of its significant visual tropes-the house where Norman Bates grew up—on top of the Met’s roof. Built from the remnants of an upstate barn, it’s a bit shrunk, and we see the back of it exposed—a reference both to cinematic smoke-and-mirrors and the make-believe that defines our childhood. But many miles of subtext inform it; it’s funny to see it surrounded by selfie-taking tourists and the skyscraper/big tree backdrop. No doubt it would make quite a different impression on an overcast rainy day, but whatever the weather, it’s one of the best installations in their series. See it, and try to sidestep the nightmares.

Cornelia Parker’s Transitional Object (PsychoBarn) is on view at the Metropolitan Museum through October 31, 2016