Good show.  Good show, L.A. Times.  You finally got around to it…eventually:

On a recent Monday at the Norton Simon Museum, everything was in its usual spot in the grand gallery where visitors first encounter an extraordinary collection of French Impressionist and Post-Impressionist art.

 

Edgar Degas’ “Little Dancer, Aged Fourteen,” a must-see for little girls who dream of becoming ballerinas, was still the centerpiece. The bronze statue with a net tutu and satin hair ribbon was surrounded by smaller Degas sculptures and paintings by Claude Monet, Paul Cézanne, Camille Pissarro, Vincent van Gogh and Paul Gauguin.

 

Two days later, when the Simon opened after its regular Tuesday closure, the gallery had been transformed. “Little Dancer” remained in place, though not for long, and all the paintings had been moved or supplanted by other works in the collection without a trace of effort.

 

The change caused some double-takes. But it was only the beginning of a major re-think and re-do of three galleries — the first since 1999, when the Pasadena museum was completely remodeled.

 

Now that the job is done, dozens of works have been relocated, primarily to create a gallery for light-sensitive pieces. It’s the new home of the bronze ballerina, with its delicate 100-year-old skirt, and a group of pastels and other fragile works on paper.

Of course, if you’d been reading this blog, we told you about what was going on a month ago.

Okay, a month and two days ago.