Talent Down The Drain
As I write this, the Jeffrey Epstein scandal is winding-down. The most shocking revelations are behind us, with less than a trickle of undiscovered associations being "revealed" in the day's news. The public's secondary reaction has only just begun. What is meant by that analogy is the absence of pain felt immediately upon sustaining a serious injury or burn. The pain is felt in the long, healing process, ahead. So it is with the Epstein files. And, after the bandages are removed, the unsightly scars will be a lasting reminder of the whole episode: the legacy of trauma.
I was not directly affected; but, believe me when I say, as former President Bill Clinton made famous the saying, “I feel your pain.” Thus, I come not to praise Caesar, but to bury him; Jeffrey Epstein, I mean. The closest exposure I got was having visited—briefly—the famous performing arts academy Interlochen, where Epstein plied his trade in seducing young women and powerful men. Epstein's crime, revealed in the news, and which I subsequently commented-on, was the debauchery of his own talent, of his own muse, in abandoning his orchestral instrument—the bassoon—in favor of brokering social exploits. Unlike the notorious Casanova, Epstein didn't even leave a memoir of his exploits, nor anything that might redeem him, other than a dank-smelling, musty trove of emails, and digital photos.
Will future scholars handle the pile with the same trepidation with which the great satyrs of art are held in fearful awe by neophytes? Despite his philandering, the name Casanova carries great weight among cultural historians. Perverted imaginings in art, literature—and certainly musical theater—is a genre in itself. I dare say, without his musical talent, Epstein would not have lulled his marks so easily! In quick succession, the name of Don Giovanni comes to mind; at once, the procuress Ghislaine Maxwell plays opposite Leporello (if not singing in the same register). Epstein simply lacks the virtue of the antihero, even if he possesses the audacity of the criminal. Breaking-through societal norms is not enough to establish greatness of soul, even if it leaves an indelible mark.
It is a scar on history, as I prefer to characterize it. Mark the public fixation on Epstein. It is an obsession. He has become the anticelebrity. Even as I am unencumbered by guilt, I cannot so easily dismiss the scandal as of no concern, to me. Correctly guided, Epstein might have joined his musical talent to his proven money-making ability, to further the arts. That, in turn, would flatter my own yearnings for the beautiful. We can never have too much music, but we must have concert halls worthy of the finest talent. True, I am an artist—not a performer—therefore, you may replace 'concert halls' in the above statement, with 'art museums and galleries,' and it satisfies everyone. All of which was prompted by a late news report about the final death knell for the proposed Jersey City arts center, intended as a colony of the world-class Pompidou Center, in Paris, France. Search returns the following synopsis of the story:
... search context of headline, “Jersey City had dreams of building a franchise of the Pompidou art museum in Paris”
Jersey City Pompidou Dream Dies
The dream of establishing a Jersey City branch of the Centre Pompidou, the renowned Parisian modern and contemporary art museum, is officially over. Mayor James Solomon confirmed on February 11, 2026, that the project is "dead," citing the city's $255 million deficit and a decision to halt all further funding. The project, initially announced in 2021 with great fanfare, was intended to transform the historic Pathside Building in Journal Square into a 58,000-square-foot cultural hub, featuring exhibitions from the Pompidou’s vast collection.
Despite earlier support from then-Mayor Steve Fulop and Governor Phil Murphy, the initiative faced mounting financial challenges. In July 2024, the New Jersey Economic Development Authority (NJEDA) withdrew $24 million in state funding, calling the project "no longer feasible" due to an "irreconcilable operating gap" and financial burdens on taxpayers. This was followed by the city's decision to stop spending $40 million from the Jersey City Redevelopment Agency (JCRA) on the project.
Although the city had awarded over $11.5 million for architectural work by 2024, the project was effectively abandoned. The Jersey City Redevelopment Agency has since approved a new conditional redeveloper for the site, signaling a shift toward alternative uses such as a food hall and hotel, as reported in October 2025. The Centre Pompidou in Paris is currently undergoing a major five-year renovation, set to close in late 2025 and reopen in 2030, further diminishing the likelihood of any future international expansion plans.
... it was, therefore, not an unreasonable proposal - at that time - however, I am searching for who was the primary developer behind the project, when it began, in 2021
The primary developer behind the Jersey City Pompidou project was Kushner Real Estate Group (KRE), led by Charles Kushner. He was the one who initially proposed the idea to then-Mayor Steve Fulop, according to a 2022 report by the Jersey City Times. The project was officially announced in 2021, with KRE securing a 30-year, $150 million tax abatement in exchange for providing city-owned space for the museum.
The architectural design was led by OMA, with Jason Long as the design partner, selected by the Fulop administration to transform the historic Pathside Building into the cultural hub.
... a leading figure in arts and infrastructure development may have been what was needed, as Jersey City arts professionals resisted, signing an open letter strongly opposing the project which offered no advantages to local artists
Jersey City arts professionals, including 19 local artists and arts leaders, signed an open letter in September 2024 strongly opposing the Pompidou project, arguing it offered no real advantages to local artists and risked diverting critical public funds from affordable housing, schools, and grassroots arts organizations. They criticized the project’s rushed timeline, lack of transparency, and reliance on taxpayer funding for a foreign institution, calling it a threat to homegrown cultural initiatives.
Despite these concerns, Raymond E. Mingst, an interdisciplinary artist and co-founder of Curious Matter, emerged as a leading voice in support of the project, advocating for its potential to elevate Jersey City’s cultural profile and create opportunities for local artists through global partnerships.
Narrowed search reveals a certain “Raymond E. Mingst” did, in fact, write an eloquent letter to the Hudson County View in support of the Pompidou, Jersey City. His stature in the field was not impressive enough to appease the doubters, proving my point, that individual genius is not optional in cultural development of this scale. He tried, and it is not inconceivable that if (in a parallel universe) the motivating genius behind the Pompidou Jersey city had been a genius of the caliber of, say, Jeffrey Epstein, the project might have gone through to completion. Provided the funding is in place, any project goes through - regardless of whether the plebeians like it, or not.
If you were to ask Mayor James Solomon—who finally killed the plan—if he believes Jersey City is un-worthy of a world-class arts center, what do you suppose he would say? Jersey City is a great town. I never lived there, but I well remember gazing out the window of New York City offices in which I worked—across the Hudson—at the compact, “cute” skyline, of Jersey City. And looking beyond, at the vast, fruited plain of the State of New Jersey, with its wide open spaces as far as the eye can see—formally symbolic of opportunity—because (if you've never been there), a mid-size American town, like Jersey City—the model and apparent prototype—represents business—money—which is the main economic opportunity offered by New York City.
Looking out New York office windows at Jersey City gave me an idea, whose time, I insist, is ripe. What Jersey City (and every mid-size American town) needs is a monument—one that will put it on the map—and that will make people want to visit the place. Jersey City is just the one to start the cultural ball rolling, in my opinion. It is open to ideas, respected by points West, leader of the pack. My idea is to fabricate a huge Duchampian “urinal” to be placed smack-dab in the middle of the Jersey City business plaza. It must be visible from New York City, from the air, land, and sea. It shall (one day) be as world-famous—and as distinctive—as the Statue of Liberty, nearby. The idea is free. Feel free to call it your own. Just make it happen, is all I ask.