The opening of a temporary exhibition space co-hosted by Andrew Kreps and Anton Kern, at a new gallery complex called Minnesota Street Project in San Francisco’s Dogpatch district, was timed to correspond with the arrival of the international art world elite to fête SFMOMA. These openings and reopenings come at a moment when the future of the Bay Area art scene seems uncertain. The new SFMOMA, billed after three years of refurbishment as the largest museum dedicated to modern art in the country, is a major tourist attraction—but what impact will it have on the local arts economy? The opening has already inspired galleries from New York to set up shop in San Francisco, but will it help make San Francisco’s existing scene more visible, or damage it as burgeoning collectors (read new tech wealth) buy established names rather than investing in young Bay Area-based artists? Will these developments help keep artists in San Francisco or force them out? Designed by Snøhetta, the new SFMOMA’s spacious galleries are empty containers suited to the blue-chip work within. The impetus for the expansion was the 100-year-loan of the private collection of Gap founders Donald and Doris Fisher. During the press preview, Donald’s son …