Certain sentries of respectability still cannot accept Cubism. The Musée de l’Art Moderne has scoured the continents for the 231 items in its vast Cubist retrospective (1907-1914); it has assembled documents, photographs and architectural motifs to prove the movement’s overflow into adjacent fields; Jean Cassou penned a eulogy holding it up as the most fundamental renewal since the Renaissance; and still the more reluctant wing of French criticism can only stiffen up and mutter that a split was generated by the movement.