I know runners can under-train for a marathon, but until I visited the new supersize Museum of Modern Art (MoMA) — all additional 47,000 square feet of it — I didn’t know it was possible to be out of shape for a museum. This is not a place to breeze through in a morning.

The renovation aims to be big enough to not only hold the institution’s art, but its promises. Early reports touted a more inclusive MoMA, one that reckoned with what and who it was missing in its collection, particularly artists who aren’t white and male. One that recognized the importance of multiple mediums, including video and performance art, and mixed them within a single gallery.

Mostly, the new MoMA has made innovative choices. Sometimes that feels like leveling the playing field for certain art movements, as with Grace Hartigan’s “Shinnecock Canal (1957)” hung next to Willem de Kooning’s “Untitled XIX” (1977). They’re both color-heavy paintings by Abstract Expressionists, and it feels right that for such a macho art scene, Hartigan should be right alongside de Kooning.

It’s heartening to see more performance and time-based art, like Ana Mendieta’s “Untitled (Glass on Body Imprints—face)” (1972), photographs in which the artist, by pressing her face up against a glass window, turns her body not simply into a canvas, but into material, like paint or clay. Her nose meets her eyes, her cheeks become balloons. Those orb-like eyes look out onto Eleanor Antin’s “100 Boots” as if avidly following the postcards depicting the boots’ adventures from California to New York.