A POPULAR train station is getting a long-awaited, multi-million pound upgrade.
South Kensington is often called a ‘museum hub’ by being the gateway to three free attractions – the V&A, Science Museum and the Natural History Museum.
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South Kensington Station is getting a huge makeoverCredit: TFLThe train station will get a £120million upgradeCredit: TFLIt includes step free access and a reopened platformCredit: TFL
And the train station is about to get a huge makeover to make it much easier to travel to and from.
The new plans revealed by TFL will see the Grade II listed station be modernised.
This includes step free entrances, and a new eastbound platform for the Circle and District lines.
Being the busiest London Underground station with no accessible entrance, it is though as many as 500,000 journeys aren’t made to the station because of it.
Around 30million passengers use the station every year, with the Circle, District and Piccadilly line stopping there.
Works are set to start later this year, and will be completed by 2029.
Bruno Carr, head of investment planning at TfL, said: “This transformational scheme will deliver much-needed step-free access to this station, while also making the area around it more pleasant for the millions who visit the nearby attractions and museums every year.”
Scott Anderson, head of property development at Places for London, said the upgrade would make the station the “jewel of the Tube network”.
Part of the station opened in 1868, with the Metropolitan line (no longer running there) and the District line.
The train station’s crowds are expected to continue, especially after the nearby Natural History Museum was named the most popular attraction in the UK.
Overtaking the British Museum, more than 7.1million people visited last year.
Millions a year also visit the V&A and Science Museum in South Kensington along with the Royal Albert Hall.
This year marks a veritable museum-palooza as Los Angeles debuts four new major arts complexes, with three in the wings likely to open in advance of the 2028 Summer Olympics.
Immerse yourself in a psychedelic explosion at Meow Wolf, plan an afternoon liaison with Van Gogh at LACMA’s new David Geffen Galleries, inhale the scent of nature inside Refik Anadol’s AI arts museum, Dataland, or simply geek out over George Lucas’ jaw-dropping collection of “Star Wars” memorabilia.
Whatever your arts craving may be, this astoundingly rich new lineup of new local museums has you covered.
LACMA’s David Geffen Galleries
The new David Geffen Galleries, opening in 2026, are composed entirely of Brutalist concrete.
(Christopher Knight / Los Angeles Times)
The Los Angeles County Museum of Art’s David Geffen Galleries are set to debut this April to members, before opening for general admission at the beginning of May. The $720-million Geffen Galleries will display 2,500-3,000 objects from LACMA’s collection.
The building, designed by Pritzker Prize-winning architect Peter Zumthor, is described by supporters as a “concrete sculpture” and will host 90 exhibition galleries across 110,000 square feet. The Wilshire Boulevard museum’s inaugural exhibition will organize artwork by the Pacific, Indian and Atlantic Oceans and the Mediterranean Sea instead of by medium or period.
“The idea is for you to make your own path — not to speak at you, but to let you wander like you would through a park or a place,” LACMA Director and Chief Executive Michael Govan said in an interview with The Times. “That change in attitude, and how the building is built, is really exciting.”
Some of the most-anticipated works on display include Georges de La Tour’s “The Magdalen With the Smoking Flame” (1640), Henri Matisse’s “La Gerbe” (1953) and Vincent Van Gogh’s “Tarascon Stagecoach” (1888).
Lucas Museum of Narrative Art
The gardens at the Lucas Museum, designed by Studio-MLA, on Monday, May 19, 2025.
(Jason Armond / Los Angeles Times)
After more than 10 years of anticipation, George Lucas and Mellody Hobson’s museum will open in Exposition Park this September. With over 10,000 square feet of galleries, the museum will feature a wide array of artwork and pop culture ephemera, including Lucas’ personal trove of “Star Wars” film franchise treasures, “Peanuts” comic strips, “Alice’s Adventures in Wonderland” illustrations, a Richard Sargent painting and covers of the Saturday Evening Post.
Lucas donated his collection to curate the Lucas Archives, which, in addition to “Star Wars,” will encompass props and production art from Lucasfilm projects, such as the “Indiana Jones” franchise.
One of the museum’s defining features is its massive green-roof garden designed by Mia Lehrer and her landscape architecture firm Studio-MLA.
“This brings everything together,” Lehrer said in an interview with The Times. “Design, ecology, storytelling, infrastructure, community. It’s the fullest expression of what landscape can be.”
Meow Wolf
A work-in-progress piece set to be featured in Meow Wolf L.A. as seen during a walk through at the group’s warehouse in Santa Fe on Oct. 15, 2025.
(Gabriela Campos/For The Times)
Meow Wolf’s L.A. location will reimagine a ’90s movie theater with its takeover of the Cinemark at West L.A.’s Howard Hughes entertainment complex outside Culver City. Meow Wolf’s sixth permanent exhibition comes on the heels of the immersive art creator’s 52,000-square-foot psychedelic art installation in Las Vegas, which was disguised as a dystopian grocery store called Omega Mart and promptly went viral on TikTok.
Complete with sci-fi elements, a meditative space and a 30-foot-tall mushroom tower, Meow Wolf’s new location will open at the end of 2026. Although organizers have kept much of the exhibition under wraps, visitors can expect to be transfixed by a thoroughly Los Angeles tale.
“It’s cool that we’re creating a story about a pilgrimage, because L.A. is that for so many artists, especially people involved in storytelling,” Shakti Howeth, Meow Wolf‘s creative director, told The Times. “It’s one of those places that’s built on layers and layers of dreams, and we’re really exploring that here. Not only dreams but broken dreams — the compost that can happen when you digest broken dreams.”
Refik Anadol’s Dataland
Refik Anadol’s Infinity Room is meant to be a multisensory experience.
(Dataland)
Opening this spring at the Frank Gehry-designed Grand L.A., Dataland dubs itself the world’s first museum of AI arts. Turkish American artist Refik Anadol designed his own AI model, named the Large Nature Model, which only sources material with permission from original creators, making it what Anadol calls “ethical” AI. Partners include the Smithsonian and the Cornell Lab of Ornithology.
“I’m calling this new art form not AR, not VR, not XR — so we are still finding a name for it. The best name so far, and people love it, is generative reality,” Anadol told The Times.
Dataland will feature five galleries, including the Infinity Room, which Anadol first created in 2014 as a student at UCLA. In another exhibit, he trained an AI model on half a million scents and built a machine to push those scents into the gallery to create a totally immersive viewing experience.
Opening Later
The Armenian American Museum and Cultural Center of California
Slated to complete construction in downtown Glendale in late 2026, the 51,000-square-foot Armenian American Museum has been in the works for more than a decade. With a $67-million budget, the museum will include permanent and temporary exhibitions, as well as an auditorium, learning center, archives collection and a demonstration kitchen.
The museum is an initiative of the Armenian Genocide Centennial Committee Western US, and planning began as the group prepared to mark the the 100th anniversary of the Armenian Genocide in 2015. The museum is adorned with the 36 letters of the Armenian alphabet and a glass hazarashen skylight, inspired by traditional roofs in homes across the Armenian Highlands.
“The Armenian American Museum was once an idea, then a vision, and today is rising before our eyes,” museum Executive Chairman Berdj Karapetian said in a statement. “This progress is the result of an extraordinary collective effort by Armenians and non-Armenians here in California, across the United States and around the world.”
The Samuel Oschin Air and Space Center
The Samuel Oschin Air and Space Center in Los Angeles is a major expansion of the California Science Center.
(Myung J. Chun / Los Angeles Times)
A solid opening date has not yet been announced, but the $400-million Samuel Oschin Air and Space Center at the California Science Center in Exposition Park is busily preparing for liftoff. Construction on the building began in 2022. The shiny new building will be home to the Korean Air Aviation Gallery, Kent Kresa Space Gallery and the Samuel Oschin Shuttle Gallery, which will host the Space Shuttle Endeavour.
Endeavour will be displayed in launch position, making it the tallest authentic spacecraft displayed vertically in the world, with a height of 20 stories. One of three surviving space shuttles, Endeavour made 25 successful missions into space.
The center is also expected to have 20 planes and jets, including a Boeing 747, a mock flight deck and a pair of introductory films produced by J.J. Abrams’ company Bad Robot, one of which will end with a simulated launch.
“It is an amazing experience, and we want to really build it up,” Jeffrey N. Rudolph, president and chief executive of the California Science Center, told The Times. “It’s not just about the hardware but about the people and the educational aspects.”
The Broad Expansion
Exterior rendering of the future Broad expansion from Hope Street.
Opening in 2028, the Broad expansion will contain 70% more gallery space, two outdoor courtyards, a live programming space and views of the museum’s art storage vault. First announced in 2024, the $100-million addition is slated for completion before the 2028 Summer Olympics.
Located in downtown L.A., the expansion was deemed necessary after the museum significantly exceeded visitor projections. The new building will invert the existing Broad museum’s architectural design, with a smooth, gray structure attached to the original construction.
“The idea is that it adds new facets to the visitor’s journey through the expanded Broad,” said Joanne Heyler, founding director and president of the Broad, in an interview with The Times. “In a way, the existing building is always sort of talking to you. And there will be a similar thing happening with the expansion, but just a slightly different conversation, like you’re listening to its sibling.”
Israel’s National Security Minister has filmed himself in front of gallows at a Jerusalem museum, threatening the death penalty for “terrorists”. Itamar Ben-Gvir is leading a campaign to expand the grounds for execution, which human rights groups have slammed as discriminatory.
Dino Snores for grown-ups opens up the iconic Natural History Museum overnight
Staying in the Natural History Museum was a dream come true
It’s one of the most iconic buildings and attractions in London and is known the world over.
The Natural History Museum is a marvel, containing tens of thousands of specimens from the natural world from across the globe and across time.
Not only that but the building is one of the most stunning in the capital, instantly recognisable and with some new wonder to be found on every visit.
And, in a real bucket list moment and a once in a lifetime experience, I was one of the people lucky enough to spend the night in this iconic building, sleeping under Hope the whale and wandering through the collections in the dead of night.
The Natural History Museum hosts Dino Snores for adults – and what an experience it is.
Not only do you get to spend the night sleeping beneath Hope the whale in the main Hintze Hall, there is so much going on there’s no way you’ll be getting your head down until the wee small hours.
Walking into the museum after the sun had gone down felt like living in my very own fairy tale. The exhibits in the incredible main hall were softly lit.
First up was a delicious three course meal in the T-Rex restaurant, followed by our first activity of the evening – stand-up comedy.
This is the Natural History Museum after all, so it did have a conservation theme in the form of comedian Simon Watt, founder of the Ugly Animal Preservation Society.
Who knew blob fish, frogs and the inexplicable inclusion of the kakapo flightless parrot could be so hilarious.
Next, there was a live animal workshop with ethical handling company, ZooLab, who encouraged us all to think how we would design our own dinosaur using traits from some of the amazing creatures who share the planet with us.
You were even allowed to touch some of these rare species – I very bravely overcame my terror to stroke a snake but have to admit to breathing a big sigh of relief when were were told the tarantula was a look only experience.
Then onto a lecture about sharks with a one of the museum’s palaeontologists – utterly fascinating.
A quick game of Dino Bingo, and then a stroll around the softly lit galleries with no crowds – the dinosaur section really is something else when the lights are out and it’s eerily quiet – and before we knew it it was 3am and we were ready to drop.
Tucking ourselves into our sleeping bags under the watchful gaze of Hope the whale, we were serenaded to sleep by a harpist – the theme from Jurassic Park as my personal favourite.
Throughout the night, there was a fully licenced bar as well as free tea, coffee and snacks to keep you going throughout the evening.
There was just so much to see and do, but for those who didn’t feel like roaming the halls of the Natural History Museum there was also a midnight film screening – what else but the original Jurassic Park.
Waking up in the iconic Hintze Hall was a real pinch me moment and off we went to our early morning yoga class – a stretch was just what we needed – before a full fry up and then some time to once again wander through the galleries, minus the crowds before the museum opened to the public at 10am.
This really was a magical experience and one I’ll cherish forever.
The Museum of Contemporary Art has acquired Kara Walker’s sculpture “Unmanned Drone,” a cornerstone of the museum’s groundbreaking “Monuments” exhibition.
It joins the 158 works by 106 artists that were added to MOCA’s permanent collection last year, including major works by Jacqueline Humphries, Mike Kelley, Shizu Saldamando, Mary Weatherford, Julie Mehretu and Nairy Baghramian. Fifty artists are new to the collection, including Jonathas de Andrade, Leilah Babirye, Meriem Bennani, Paul Chan, Cynthia Daignault and Ali Eyal.
“Unmanned Drone” — a towering testament to the power of transmogrification — commands a room of its own at the Brick, which co-presented the “Monuments” exhibition in October. Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists.
A detail of a severed arm — part of Kara Walker’s sculpture “Unmanned Drone,” which she created using a decommissioned statue of Confederate Gen. Stonewall Jackson.
In an interview last fall, Brick director Hamza Walker explained to The Times that the city of Charlottesville issued a request for proposals from organizations interested in taking possession of the statue. The Brick applied and was deeded the statue, taking physical possession on Jan. 6, 2022. The gallery then gave the statue to Walker.
“They were getting rid of the Lee and the Stonewall Jackson statues, and they said, ‘We don’t want them put back up for further veneration,’” Hamza Walker said. “And so the idea of giving the statue to an artist fit that bill.”
Other applicants skipped over the line about not putting them up for further veneration, Hamza Walker said, noting that the Brick’s proposal was up against ones from Civil War battlefields and Laurel Hill, the birthplace of Confederate general J.E.B. Stuart.
A detail of the horse’s nostril in Kara Walker’s sculpture “Unmanned Drone,” which MOCA has acquired.
(Etienne Laurent / For The Times)
Kara Walker sliced apart the statue with a plasma cutter and welded it back together in an entirely new form. She did away with Jackson’s face and put much of the focus on his famous steed, Little Sorrel. The horse now stands upright with its head pushing out from the back of its saddle.
“She didn’t want you to be able to identify with him. She wanted the emphasis on Little Sorrel rather than the myth of the man,” Hamza Walker explained of Kara Walker’s intentions. “She wanted to reduce it to horse and rider.”
“The fiend has no head,” Knight commented in his review. “The folkloric Euro-American story of the ‘headless horseman’ comes to mind — a nightmarish, animated corpse who haunts the living. As a metaphor for obtuse white supremacy, still active today, that terror figure is hard to beat.”
Walker’s work was the only transformed statue out of the nearly dozen decommissioned statues related to the Confederacy featured in the “Monuments” exhibition. The others were all presented as they looked when they were removed, many during the protests that swelled in the summer of 2020 in the wake of the murder of George Floyd.
A detail of a sword on Kara Walker’s sculpture “Unmanned Drone.”
(Etienne Laurent / For The Times)
In addition to “Unmanned Drone,” MOCA announced several other acquisitions that were either featured in recent exhibitions or have significant connections to the museum. These include an environmental sculpture by Olafur Eliasson; work by Takako Yamaguchi; a media installation by Paul Pfeiffer titled “Red Green Blue” (2022), co-acquired with the Brooklyn Museum; and pieces by Cynthia Daignault, Shizu Saldamando and Henry Taylor.
“The expansion of MOCA’s collection this year reflects a sustained and deeply collaborative effort to think critically about what it means to build a museum collection in the twenty-first century,” Clara Kim, chief curator and director of curatorial affairs, said in a statement.
