Consider the humble chair. What does it want? What are the chair’s fundamental desires? The chair is entirely utilitarian, existing solely to give you and yours a place to rest your weary, weary selves before girding, once again, for a sustained assault on life and its jagged challenges. In a way, if a chair wasn’t utilitarian – if its design superseded its comfort, say – it would cease to be a chair, right? What is a chair that’s not good for sitting on? It’s just a thing. It might be a shiny thing, or a colorful thing, or an oddly-shaped and intriguing thing, but it’s a thing, and that’s all. Unless, of course, the chair is a model of both design and comfort, in which case the situation become something along the lines of “You see how cool that chair looks? Wait’ll you sit in it.” Unfortunately, the likelihood of actually being able to sit in any of the hundred chairs that comprise the exhibit currently at the Tampa Museum of Art – accurately titled A Hundred Years-A Hundred Chairs: Masterworks from the Vitra Design Museum – is slim, but hey, what’s better in the long run – sitting in the multi-colored Marshmallow chair (left), or sitting in another chair and staring at that oddball? (FULL ARTICLE: Megan Voeller, Creative Loafing Tampa)