When the door opens and you cross the sculpture courtyard — home to works by Giacometti, Arp, Germaine Richier — to enter the main hall of Palazzo Venier dei Leoni (Guggenheim’s home from 1949 until her death in 1979), you might, if you love 20th-century art, think you have arrived in heaven. Swaying above you is a coloured glass, china and wire “Mobile” by Alexander Calder, swinging between Kandinsky’s lyrical, abstracted mountain village “Landscape with Red Spots, No 2” and Picasso’s austere white “The Studio”. Venture on to the terrace, and boats glide by under the gaze of Marino Marini’s “Angel of the City”: a bronze horse and rider with an erect phallus, symbolising ecstasy.