Jeff Koons’s giant blue egg sculpture—that outlandishly chatoyant and seductive object—looks as though it could have landed from another planet or another time. Its cracked top serves as a reminder of the way that Koons created a fundamental fracture within art history with his compelling work, and I was reminded of the artist’s monumental impact as I visited his exhibition at the Fondation Beyeler coinciding with the Art Basel fair, partly because it informed nearly everything I saw subsequently. The very first work in the show is the utterly eerie The New Jeff Koons (1980), a lightbox displaying an image of the artist as a young boy posing with crayons and a coloring book like the perfect child, his expression every bit the airy adult Jeff we have come to know: clear-eyed, polite and unnervingly serene, with his “how may I help you” smile. This image serves as an introduction to the artist’s brilliant Hoover sculptures and shampoo polishers in Plexiglas cubes, which revel in the purity of their box-fresh newness and aspirational product names—Celebrity and so forth, and assisted by Koons’s presentation and uncanny doublings. These, now more than thirty years old, are nothing short of visionary. They seem …