Last fall, the Denver Art Museum bundled three related shows — Court to Cafe, Drawing Room and Nature as Muse — as a unified blockbuster called Passport to Paris. Like previous blockbusters at the DAM, Passport to Paris attracted huge crowds who drove up ticket sales, membership rolls and gift-shop receipts. This kind of successful audience-building is the culmination of a dream of former director Lewis Sharp. But it was his successor, Christoph Heinrich, who carried it out. Using his wits and sensibilities rather than stats and charts, Heinrich figured out the formula for getting attention by mounting blockbusters — or beacons, as he calls them. The next point of light: Modern Masters, which just opened.