museum

Gray skies didn’t prevent L.A.’s arts community from getting fancy in support of the Hammer Museum’s annual Gala in the Garden. Adorned in fur coats, colorful sunglasses and patterned ties, artists and celebrities including Owen Wilson, Rufus Wainwright, Lauren Halsey and Catherine Opie joined to celebrate gala honorees Betye Saar and television writer and producer Darren Star.

The event highlighted how the Westwood-based museum inspires creatives and harnesses community for the city’s artists. Under pink and yellow lights, guests enjoyed cocktails while admiring the museum’s galleries. Guests, including Los Angles County Museum of Art Director and Chief Executive Michael Govan and the Hammer’s Director Emerita Ann Philbin, reunited with old friends and colleagues, making the event feel like a family affair.

All were unified in their admiration of the night’s guests of honor.

At 99, Saar is among L.A.’s most esteemed and accomplished living artists. Her career has spanned more than seven decades, with an early focus on rejecting white feminism and reclaiming the Black female body. Civil rights activist Angela Davis traced the start of the Black women’s movement to the creation of Saar’s 1972 assemblage piece, “The Liberation of Aunt Jemima.”

During onstage comments at the gala, Getty Research Institute presidential scholar Sandra Jackson-Dumont discussed the massive impact Saar has had on the art world.

“It measures in the artist who found their voice because you insisted that your voice mattered. It’s in the institutions that shifted because you demanded that they see us,” Jackson-Dumont said while introducing Saar to the stage. “You take what the world cast aside and breathe spirit into it, insisting that the overlooked can speak, that the discarded can testify, that the everyday can dream.”

Ann Philbin, from left, director emerita, Hammer Museum, Kohshin Finley and Lauren Halsey attend the Hammer Museum’s 2026 Gala in the Garden.

(Stefanie Keenan / Getty Images for Hammer Museum)

The event also served as an early celebration for Saar’s 100th birthday in July, with Jackson-Dumont calling her birthday “100 years of vision. 100 years of courage.”

“[It’s] not 100 years of working, of making art, but 100 years of living with eyes wide open, heart attuned, spirit unbound, we stand in awe,” Jackson-Dumont said.

Saar took to the stage amid a resounding standing ovation, and when she spoke, the crowd’s gaze remained intently on her. While Saar kept her remarks short, she talked about the importance of art in everyday life.

“So many people do not realize how important art is, how it affects everything we do. Even bad things, because you can take art and make it good,” Saar said. “I want to thank you for coming to this event because by you being here, it encourages a lot of other people who are not here to love art and to use art and to know how important art is in this foreign life.”

Netflix co-Chief Executive Ted Sarandos introduced Star, who created groundbreaking series including “Beverly Hills, 90210,” “Sex and the City,” “Younger” and “Emily in Paris,” which defined pop culture references for generations of television viewers.

Sarandos called it a “privilege” to work with Star, explaining that his work has an “enduring staying power” and that “there has never been a storyline that is too bats— crazy for Darren.”

“Darren is simply one of the most talented showrunners of his generation, with his finger on the pulse of pop culture for more than three decades,” Sarandos said. “He influences the clothes we wear, the way we cut our hair, the music we listen to and the dreams we dream.”

Star, who has long served on the Hammer’s board of directors, celebrated his honor by explaining what he loves about the museum, including its Alice Waters’ restaurant Lulu, and the environment the space provides for Los Angeles creatives.

The view from above the courtyard at the Hammer Museum’s 2026 Gala in the Garden, which honored artist Beye Saar and television writer and producer Darren Star.

(Charley Gallay / Getty Images for Hammer Museum)

“The Hammer creates a wonderful community. We come together because we all love art, love Los Angeles and love this museum,” Star said. “I’m grateful to be part of this family and the city’s extraordinary artistic life.”

The gala was the second under the leadership of Hammer Museum Director Zoë Ryan, who succeeded longtime director Ann Philbin in January 2025. Former Los Angeles City Council President Joel Wachs called Ryan a “true scholar, open-minded, unflappable.”

“I believe she is exactly the kind of strong leader this institution needs in these really difficult, complicated and turbulent times,” Wachs said during his opening remarks. “And if anyone can be counted upon, I believe it’s her that will vigorously defend against the grave dangers and vicious attacks on freedom of expression that both museums and universities currently face.”

During her speech Ryan said the Hammer is “cherished” by the Los Angeles community, and that she intends to keep providing a space for creatives in the city.

“At the heart of the Hammer is a deep commitment to giving space to artists, bold and experimental ideas, and supporting audiences as a catalyst for change through dialogue and exchange — all much needed in this country right now.”

It will be more than a “Star Wars” bonanza when the Lucas Museum of Narrative Art opens to the public Sept. 22. The highly anticipated $1-billion museum on Thursday announced about 20 inaugural exhibitions curated by George Lucas across more than 30 galleries — and only one is related to cinema, with a focus on “Star Wars” memorabilia, including large-scale vehicle installations, production designs, props and costumes.

The full scope of the 1,200-plus objects will only be revealed when guests step through the museum doors into more than 100,000 square feet of gallery space on the first day of fall.

The futuristic-looking 300,000-square-foot museum in L.A.’s Exposition Park was designed by Ma Yansong of Mad Architects with executive architect Stantec and includes 11 acres of park space that extend to the museum’s roof, designed by Mia Lehrer of Studio-MLA. Co-founded by Lucas and his wife, Mellody Hobson, the museum will rotate the famous filmmaker’s vast collection of narrative art, which contains objects not found in more traditional museums, including manga, comics and children’s tales. The idea is to present the myriad ways images are used to tell an endless variety of stories. Lucas has called his collection “the people’s art.”

Dorothea Lange, “Migrant Mother,” Nipomo, Calif., 1936. Gelatin silver print, 18 3/4 x 14 1/2 in.

(Lucas Museum of Narrative Art, PKY.1062)

Exhibitions currently on deck include a variety of themed shows such as one on the architecture of the building; one titled “Everyday Life,” dedicated to visual stories about “childhood, community, family, love, motherhood, play, school, sports and work”; another titled “Civic Life” featuring “artists’ portrayals of experience in the courthouse, the polling place, the political headquarters”; an exhibit titled “Narrative Forms” highlighting “narrative art across genres of adventure, fantasy, romance and science fiction” by artists including Julie Bell, Boris Vallejo, Ken Kelly, Georges Méliès, John C. Berkey and Jeffrey Catherine Jones; and children’s literature illustrations by Beatrix Potter, Leo Politi, E.H. Shepard and Jacob Lawrence.

George Hughes, “Home at Last,” cover for the Saturday Evening Post, Sept. 1, 1951. Oil on board, 30 x 24 in.

(Lucas Museum of Narrative Art, PKY.993. © SEPS by Curtis Licensing)

There will also be exhibitions devoted to the work of individual artists and genres such as comics and graphic stories from illustrators Mœbius, Marie Severin, Jack Kirby, Alison Bechdel, Jim Lee, Frank Miller and Rafael Navarro; illustrations and book covers by Frank Frazetta; the work of fairy tale and children’s illustrator Jessie Willcox Smith; the lush art of Maxfield Parrish; a selection of work by iconic American artist Norman Rockwell; selected works of Thomas Hart Benton; and early 20th century book illustrations by N.C. Wyeth.

A news release about the inaugural exhibitions noted that they are drawn from the museum’s founding collection of more than 40,000 works.

“The exhibitions trace the evolution of human culture through storytelling, from ancient sculptures of gods and goddesses to Renaissance paintings to photographs, comics and modern cinema,” the release says. “Many exhibitions are organized by theme, focusing on myths about love, family, community and adventure that connect every generation. These shared stories, told over and over in many forms, bind us together and define our human experience.”

Ernie Barnes, “The Critic’s Corner,” 2007. Acrylic on canvas, 23 1/2 x 35 3/8 in.

(Matt Kroening / Lucas Museum of Narrative Art)

The road to the opening of the Lucas Museum has been winding. In 2017, Lucas first announced his decision to build his museum in L.A., with construction beginning the following year. The building was initially scheduled to open in 2021 — a goal that was pushed to 2023 due to COVID-19 pandemic-induced delays. From there, the debut was pushed to 2025, and finally 2026. The museum announced its final opening date last November.

Lucas’ role at his namesake museum has also not always been clear, and the museum’s development has been marked by a series of high-profile staff shakeups. The museum’s original director and chief executive, Sandra Jackson-Dumont, stepped down from her role in early 2025 after less than five years. She didn’t speak publicly about her departure but the museum issued a statement that her decision was based on a “new organizational design” that would split her job into two positions, with Lucas responsible for content direction.

Three months later, the museum laid off 15 full-time employees, a number of whom were from the education and public programming team. Seven part-time, on-call employees were also eliminated. The layoffs were described to The Times in harrowing terms by two employees who asked to remain anonymous.

In December — soon after the museum announced its opening date — news broke that chief curator Pilar Tompkins Rivas had stepped down from her role.

To date, no new chief curator has been named, but a rep for the museum wrote in an email that Lucas “is responsible for curatorial and content direction for the museum and continues to work closely with the curatorial team on his decades-long vision to celebrate storytelling and narrative art.”

North Korea has opened a memorial museum in Pyongyang for its soldiers killed while fighting alongside Russian forces in the war in Ukraine, in the clearest sign yet of how central the conflict has become to the growing alliance.

The inaugural ceremony at the Memorial Museum of Combat Feats at the Overseas Military Operations was held on Sunday. It also marked the first anniversary of what the two countries describe as the end of an operation to “liberate” Russia’s Kursk border region from a Ukrainian incursion, the state-run Korean Central News Agency (KCNA) reported on Monday.

KCNA said North Korea’s leader Kim Jong Un attended the event along with senior Russian officials, including State Duma Chairman Vyacheslav Volodin and Defence Minister Andrei Belousov.

South Korea’s intelligence agency has estimated that North Korea deployed about 15,000 soldiers to fight for Russia in the Kursk region, and that about 2,000 of them were killed. Moscow and Pyongyang have not disclosed any figures.

During the ceremony, Kim sprinkled earth over the remains of one soldier and laid flowers for others whose bodies had been placed in a mortuary, according to KCNA. Kim and the Russian officials then signed a guestbook at the newly opened museum.

In his speech, Kim said the fallen North Korean troops would remain “a symbol of the Korean people’s heroism” and would support “a victorious march by the Korean and Russian people”.

He accused the United States and its allies of pursuing a “hegemonic plot and military adventurism” on the Russia-Ukraine front, praising Russian and North Korean forces for thwarting those efforts.

Meeting Belousov separately, Kim pledged full support for Russia’s policy of defending its sovereignty and security interests, KCNA said.

Russia’s TASS news agency quoted Belousov as saying that Moscow is ready to sign a military cooperation plan with Pyongyang covering 2027-31.

In a letter read by Volodin, Russian President Vladimir Putin said the new museum would be “a clear symbol of the friendship and solidarity” between the two countries and pledged to further strengthen their “comprehensive strategic partnership”.

Since Russia’s full-scale invasion of Ukraine in 2022, Kim has tilted his foreign policy decisively towards Moscow, supplying troops and conventional weapons in exchange, analysts say, for economic support and possibly sensitive technologies.

Officials in South Korea, the US and allied countries fear Russia could transfer advanced know-how to Pyongyang that would boost its nuclear and missile programmes.

Military experts say North Korean troops initially suffered heavy losses in Kursk due to their lack of combat experience and unfamiliarity with the terrain, making them vulnerable to Ukrainian drone and artillery fire.

But Ukrainian military and intelligence officials have assessed that the North Koreans later gained crucial battlefield experience and became central to Russia’s efforts to overwhelm Ukrainian forces by deploying large numbers of soldiers in the region.

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

During a recent Zoom interview from his studio in Switzerland, Peter Zumthor offered a candid look at the making of the Los Angeles County Museum of Art’s new David Geffen Galleries.

The Pritzker Prize-winning architect addressed long-standing criticisms of the building and answered questions about his craft. He noted that the structure is a rejection of the overly “slick” architecture he believes defines the present moment, and shed light on the building’s early development, describing a contained process in which the concept was shaped before being presented to the public.

Finally, he discussed the broader ambition of the endeavor: dissolving traditional circulation and prioritizing emotional experience over institutional order.

The following interview excerpts have been edited and condensed for length and clarity.

You are well–known as both an architect and a craftsman. I think the biggest place for that focus was the concrete. I’m curious about how you formed it. It’s not the typical museum concrete.

I work like an artist in building. This means I custom-make buildings. I can use a few standard details or products, like in the basement. But where the building has an identity, becomes visible, it’s almost all handmade. I have an image of what I want to do, what the building should do, how it should look. So I need people who can help me make custom-made products.

The people who did the formwork — the concrete pouring — [worked in] groups of 100 or more. They were fantastic. They loved their work. At the beginning, formwork leaked on a door, and it looked terrible. They said, “Peter, we’re sorry. We made a mistake. We can fix this. You will not see this afterwards.” But if you make a mistake, you cannot mend it, because what you’re doing here is a concrete sculpture. Sculptures are never mended.

It’s not a perfectly smooth concrete. I’m assuming that’s on purpose?

I love this kind of rawness. This was what I gladly learned. Michael [Govan] in a very friendly, careful way let me know that he would like more “American details” and fewer “European details.” OK, my European details, they stand. That’s what I did 20, 30 years ago. My background as a furniture maker shows, and I can do this. But the challenge in this museum is to get the right “American” roughness. And I think I pretty much succeeded.

What I learned in California [came] back to Europe, and many times we now say in the office, “Let’s do this more L.A.-style.” Because we have too many slick magazines in the world. We have this corporate architecture which doesn’t want to see any touch of a hand. No mistakes. What we need is not refinement. We need wholehearted directness. This is what I take back from America. There’s a certain freshness. It’s not overly refined. I’m proud of that. The roughness has to do with our times. Because our time is slick and glossy, right? The time to make refined, slick architecture is over.

Horizontal light enters from floor-to-ceiling windows around the perimeter of LACMA’s new David Geffen Galleries, which use concrete as a kind of living building material.

(Iwan Baan)

In a 2023 interview with [architecture critic] Christopher Hawthorne, you said there were no “Zumthor details” left in the building. Do you think there are any Zumthor details now?

Of course there are Zumthor details. And I love them. They are not Swiss details. I think Christopher got this wrong. I was actually proudly speaking of how I learned a new way of looking at details. It doesn’t have to be refined all the time.

[Editor’s note: Zumthor told Hawthorne verbatim, “There are no Zumthor details any more,” in the 2023 interview with the New York Times.]

There’s always a tension with every building when it comes to value engineering. Were there any other places where you would want [David Geffen Galleries] to be different?

Basically, I say no. I’m very proud of this building. This is what I wanted to do, and this is what Michael helped me to do. This is exactly it. It’s one of my children and I love it.

Do you see this approach as an evolution in your work? Or is it more specifically for L.A.?

L.A. has changed me. And it’s in a good way. I would [not] have changed and reacted to our slick times the same way without L.A.

There were complaints that the project, and the process, were not as public as some people thought they should be. What is your reaction to that criticism?

I think I can say this: Michael said, “We cannot make a competition or anything like it, because competitions in the U.S. always end up with a winner who doesn’t build because he found out his own way of staging this whole procedure. The first, the most important thing, is that we start on a small budget, just the two of us.” That’s what we did. So when we started to talk about this museum, it was him and me, basically, and he gave me a little bit of money. And he said, “There will come a time when we will have to show something to the public. Let’s see whether people say yes.” They could have said no, but I think what they saw at that point was already too convincing.

Architect Peter Zumthor speaks at the press preview for the David Geffen Galleries at Los Angeles County Museum of Art.

(LACMA/ Museum Associates / Gary Leonard)

Because the museum’s not organized in a traditional way, it might be harder than normal to navigate for some people. It might be a little confusing. What do you say to that concern?

This will take some time, to see the benefits of this new type of museum. I think if you start to like this building in one corner or in another, or you get lost, you start to understand what it is all about. When something new comes, you have to learn, right? But I hope you can see this building never looks down on you. This building is, in a way, deeply human. And it lets you have your opinion.

There are people who have said, very loudly, this space shouldn’t have lost square footage. What is your response to that?

Small museums are beautiful, big museums tend to be really difficult. And the bigger the museum gets, the more difficult it is to make it easily accessible. So I’m very glad that this is not bigger. But it feels bigger.

What is this with bigness? What kind of a hang-up is this? You don’t have to be big. It has the right scale. We were often asked, “Can you experience this building and this collection in one day?” And we said, “Maybe. But maybe it will be better to come back.” Start from the other end. You have your own personal path. And then you research a little bit further. I think these are the beautiful ideas of how to experience the building. And I think it’s endless.

The interior of LACMA’s new David Geffen Galleries encourages guests to wander and make their own connections rather than follow a linear path.

(Eric Thayer / Los Angeles Times)

Can you go back to the beginning and talk about the core concept for the museum?

There are three major things that I always have to answer, whatever I do. What does the building do with the place? Does it help the place? Does it interpret the place? And then, what is the content of the building? What does the building have to do? Why are we building this?

To start out, there was a museum here which was modeled a bit after Lincoln Center. Later, it got clogged up with new buildings and you didn’t recognize the initial idea anymore. These things we took away. Whenever a building is there, whether it’s beautiful or ugly, it will always have grown into the soul of somebody. There will always be people saying, “No, no, I want to keep it.” This is part of my life. I understand this kind of thing always comes up.

The place was rather difficult because I couldn’t see any big urbanistic concept in L.A. L.A. [is] not urban in the European sense with, for instance, the market square.

There was a master plan, which was made by Renzo Piano. And this presented a long axis, and I tried to follow it. It just did not feel right. So I started to react in a more organic way, inspired by the tar pits. This whole area, which to me, is the ancient part of the site, became the starting point.

There was more: like the idea that side light is the most human light. Yeah, no skylights. And another thing was the museum had to be open to its surroundings. So contemporary L.A. should be present at all times. It should come in, whenever you can look out.

Another important thing … was to create or enlarge the public space that Michael [Govan] had started to create between his buildings. Friday evenings, Saturday, you saw so many families there. There is a desire here, a wish, for public space. This is not exactly the strength of L.A. So I think it was amazing that we were allowed to lift up the building and have the whole ground free for people.

Also, let’s do the museum on one level only. Classical museums have a main level, then they have a second level and a third level, a south wing and north wing and so on. And then, as an artist, you can have your work on the main level in the most beautiful spot. But as an artist, you can also land top left, third level near to the attic. So let’s make a building type which treats everybody equal.

LACMA’s David Geffen Galleries are hoisted above the ground on discrete piers, allowing for ample public space below.

(Eric Thayer / Los Angeles Times)

And then we started to think about how we wanted something open for wandering, experiencing and dreaming. This is always difficult to explain — let’s have the knowledge of art, of the history of art, coming second. It’s not because I think this is a secondary thing. It’s just because our experience should come first.

As a boy, I saw the opposite. There’s a tour and there’s a guide, and the guide starts to tell you what you should think. And I never liked this. We thought we should lay out things on a big plane where you can stroll and wander and develop your interest in art. Follow your own path.

You’re overturning a lot of unspoken rules in the art world. And I guess that’s the point in a lot of ways?

This is our point. You see other rules. For instance, if you do a new museum, the conservators say art can be exposed to less daylight. I told them as a joke, “If it goes on like this, soon the art will be in the basement, locked away.”

We have a building wide and long enough that within the building, you can find strong daylight for, let’s say, china or pottery, which love daylight. Then you can go deep into the building where it gets darker, and you can put pieces you don’t want to expose too much to the light. All without having to flip a switch.

Don’t worry if your Hogwarts acceptance letter got lost in the mail — a new “Harry Potter” experience will soon let you hop aboard the Hogwarts Express anyway.

Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum this summer for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire. The experience will run from July 24 through Sept. 27. Yes, that includes Back to Hogwarts Day on Sept. 1.

A Hogwarts Express Adventure will include a Platform 9¾-themed preboarding experience as well as House competitions and chants, spell-casting challenges and other interactive activities aboard the train. Guests will also be able to grab some themed treats from the trolley. The train ride will end at a Hogsmeade-inspired village where more food, beverages and merchandise will be available.

The Rail Events Inc. press release also teases a possible encounter with “a dark and mysterious force.” The company, also known for the Polar Express Train Ride, developed A Hogwarts Express Adventure along with Warner Bros. Discovery Global Experiences.

This is a big year for “Harry Potter” fans. “Harry Potter and the Philosopher’s Stone,” a new television series based on author J.K. Rowling’s popular book series, is set to debut on HBO Max on Christmas Day. The show will introduce audiences to a new Golden Trio, portrayed by Dominic McLaughlin (Harry Potter), Alastair Stout (Ron Weasley) and Arabella Stanton (Hermione Granger), as they embark on their Hogwarts journey. (Rowling remains controversial for her views on trans women.)

Ticket sales for A Hogwarts Express Adventure will begin April 28, with prices starting at $77 for adults and $67 for children ages 2 to 11, depending on departure time.

Want to sip on Hailey Bieber’s Strawberry Glaze Skin Smoothie after staring at Vincent van Gogh’s “Tarascon Stagecoach”? Los Angeles County Museum of Art has got you covered.

The museum announced Tuesday that it has partnered with Erewhon, the high-end L.A. health food chain and retailer, on a cafe located on the ground level of its new David Geffen galleries. The cafe, which has outdoor seating beside Alexander Calder’s fountain sculpture, “Three Quintains (Hello Girls),” will open Sunday for LACMA members visiting the David Geffen Galleries. The general public can get in on the coveted buffalo cauliflower when the new building opens to the public on May 4 — with the partnership continuing through the summer. No definite closure has been announced, so it’s possible the collaboration continues.

“We’re so proud to partner with LACMA, a meaningful milestone as our first museum collaboration,” said Tony Antoci, CEO and owner of Erewhon, and Josephine Antoci, president and owner of Erewhon in a statement. “It really feels like a celebration of Los Angeles, bringing Erewhon and LACMA together to nourish and inspire the community we love.”

The collaboration between the store, which enjoys a cult-like following, with one of the city’s most anticipated new cultural offerings is expected to draw an eager crowd. Guests can grab a ticket to the museum, or simply enjoy a drink while strolling around the museum’s 3.5 acres of new park space, and taking in a variety of newly installed public artwork including Jeff Koons’ towering topiary sculpture, “Split Rocker.”

Two additional drinking and dining options — a wine bar and a restaurant — will open later this year, but no establishments have been named yet for those spots.

Erewhon at LACMA will be open during museum hours.

WHO can say they don’t love being embroiled in the world of spies in the world of fiction at least?

Well, soon Brits will get to learn more about the actions of some of the real-life secret agents of World War II at a historic mansion that’s been closed since 2012.

Trent Park House in Enfield has announced it will reopen this year with its new ‘House of Secrets‘ museum.

Inside will be renovated rooms and a dedicated space to its history of espionage.

During World War II, Trent Park House was used by the War Office for the secret British Intelligence unit, MI9.

It was used to hold German generals and staff officers captive between 1939 and 1945 as part of an operation codenamed M-Rooms.

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The soldiers were treated fairly well with rations of whisky and they were allowed regular walks on the grounds

But what they didn’t know was that they were under surveillance from bugs that were planted all over the estate.

Listening devices were everywhere, in the walls, light fittings, plant pots, window ledges – even the garden benches.

In the basement of Trent Park House were the ‘squads’ who worked in three ‘M’ (miked) rooms, who listened to and transcribed the recordings to aid the British during the war.

All of this will be able to be explored when part of the house reopens later this year.

Trent Park House will also transform back to its former glory during the 1920s and 30s when it was owned by Sir Philip Sassoon.

The British politician and aristocrat turned the estate into a grand country home and hosted high profile guests like Winston Churchill, Fred Astaire and Charlie Chaplin.

Some of the furnishings and artworks once belonging to Sassoon will return to the house and be displayed there for the first time since the 1930s.

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When it reopens, the house will have a new visitor café with terrace seating area on the ground floor.

Trent Park House was later used for education with the Middlesex University using the site until 2012.

It was then bought by the Berkley Group who are converting part of the estate, including some of the mansion, into luxury homes.

The house is currently undergoing renovation and will reopen in summer 2026 – although no opening date has been revealed yet.

But visitors are welcome on Trent Country Park estate to explore its 413-acre park.

The grounds are open year-round with woodlands, trails, lakes and meadow with free parking and a café.

In the meantime, when it comes to other attractions in the UK, the Natural History Museum has been recently named the most popular in the country.

The Association of Leading Visitor Attractions (ALVA) revealed 7.1million people visited last year.

Over the next couple of years, the Natural History Museum is also working on new openings.

A new Human Nature pop-up display will open in September 2026, inside a gallery that has been closed for 80 years.

There will also be a prototype of one of the Crystal Palace dinosaurs, a monk seal called Jenny ‘the talking fish’ and a handaxe that was discovered alongside the remains of a woolly mammoth in 1859.

Later in 2027, there will be a new permanent gallery specifically for young children.

For more on UK attractions, here are 20 of the most-visited in England that are free to enter.

And check out London’s ‘best family attraction’ is about to get even better – with huge new outdoor play area and cafe next month.

The Page Museum at the La Brea Tar Pits is closing down this summer in preparation for its first significant overhaul in its 50-year history.

The closure comes as its neighbor LACMA’s David Geffen Galleries finally open to the public after a two-decade campus transformation, and L.A. institutions make a concerted effort to bolster the city’s cultural scene in advance of the 2028 Olympic Games.

“We’re excited about bringing the entire campus together, and our part of it is really important to making it feel like you can easily move from LACMA over into the Tar Pits,” said Lori Bettison-Varga, president and director of the Natural History Museums of Los Angeles County, which oversees the Tar Pits. “So we worked closely with LACMA on that interface, and we’ll continue to do so.”

The last day to visit the Page Museum is July 6. Prior to closing, the Tar Pits will host a free public KCRW Summer Nights event June 12 and a members-only, disco-themed dance party June 27.

The museum renovation, like the recently announced Samuel Oschin Global Center for Ice Age Research, is part of the NHM’s broader Reimagine project — a yearslong site revamp led by architecture firm Weiss/Manfredi that will make the 13-acre Tar Pits campus more accessible and emphasize its function as the only active paleontological research hub located in a major urban area. For the Page Museum, that means a new and improved northwest entrance, expanded visible research labs and collections displays, an immersive theater and a rooftop terrace overlooking Hancock Park.

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“We’re going to have this more accessible, state-of-the-art museum that really tells the story of Ice Age Los Angeles and its relevance today in a way that it currently doesn’t,” Bettison-Varga said.

Bettison-Varga added that the revamped Page Museum will demonstrate “why this place is a worldwide treasure, and that it’s telling us about ecological and climate change that happened in the recent past and what we can learn from it.”

“All of this is about placing it in the context of relevance for today, not just a window into the past,” she said.

To date, the Reimagine project has secured more than $131 million, just over half of its $240 million fundraising goal.

Guests can still observe active excavation during the two-year museum closure — albeit from different vantage points — as researchers continue their work on site. Hancock Park will stay partially open, with new walking paths and outdoor features set to be phased in coordination with construction.

“[The renovation] is really going to position that museum with respect to the landscape and the fossils that are right from this site, while still preserving all the wonderful things that the community loves about the site: the frieze and the lake pit, the mammoth family, the visible excavations and, of course, the hills that everyone likes to roll down,” Bettison-Varga said.

Plus, with the Geffen Galleries opening, “it’s actually a good reminder for everyone to come see the vintage, iconic La Brea Tar Pits before the Page Museum closes,” Bettison-Varga quipped.

While the Page Museum is under construction, the grant-funded La Brea Tar Pits Mobile Museums will continue visiting schools and other public places throughout L.A. County.

The Page Museum opened in 1977 and currently houses more than 2 million specimens in its collection.

I’m looking for something that’s open early on the weekends (9 a.m.?) where we can take our 2-year-old daughter. We don’t want it to be an indoor play place or something that is solely designed for kids. Ideally, it would be something that adults enjoy too. Maybe something outdoors or with a restaurant/cafe where we can give ourselves a little treat. We are in Manhattan Beach and have to be back home by 12:30 p.m. for nap time. We’ve been able to make drives to Pasadena and Orange County and make it back in time (bonus of leaving on a Saturday or Sunday because there’s no traffic!) — Brittany Newell

Here’s what we suggest:

Finding places that will keep both you and your toddler entertained can be tricky. But don’t fret, Brittany! I’ve enlisted the help of some of my colleagues who are also parents that understand the need to flee the house before nap time. I’ve compiled a list of fun mini adventures that you can start early-ish.

For an activity close to home, Michelle Woo, The Times’ West Coast experiences editor, suggests renting a toddler bike trailer or bike seat from one of the local shops and taking a ride along the Strand from Manhattan to Redondo and back to Hermosa for a stop at Good Stuff, a beachside restaurant where you can enjoy a refreshing smoothie, mimosa or Woo’s go-to order, “the Good Stuff Breakfast with a pork sausage patty — simple yet comforting.” Then let your daughter play in the sand for a while. And if you haven’t been to the Roundhouse Aquarium before, it’s definitely worth a visit. The free, donation-based marine educational center is home to swell sharks, sea urchins, jellyfish and more that will leave visitors of any age in awe.

About 12 miles up the coast in Venice Beach is the newly renovated Windward Plaza Playground, a nautical-themed fun zone equipped with slides, swings, climbers and more. The best part is that it’s located on the sand at the beach just steps away from the famous boardwalk. Before you get to the park, my colleague Amy King suggests stopping by Breakaway Cafe for yummy breakfast burritos or Menotti’s for coffee.

For an early morning adventure, Times entertainment and features editor Brittany Levine Beckman recommends visiting the Riverside bike path in Frogtown, which opens at 6 a.m., so you can start as early as you’d like. She and her husband usually take turns pushing their 18-month-old daughter in a tricycle along the pathway and get their steps in. Afterward, she suggests going to Lingua Franca, a restaurant situated along the river. “We’ve arrived a few times as soon as the restaurant opens at 10 a.m. on the weekend and been the only early-bird brunchers,” she tells me. “We grab a table outside in the back and our daughter meanders without us feeling annoying.” The restaurant also serves a toddler-approved Dutch baby and a parent-approved bloody Mary, she adds. If you prefer to just grab a coffee, go to Tadaa.Coffee, which has a sand pit that your daughter can play in.

Another fun option is the Natural History Museum in Exposition Park, where you can wander through the awe-inspiring Dinosaur Hall, learn about the evolution of mammals, roam through the enchanting nature gardens and admire more than 2,000 gems and minerals from across the globe. The museum opens at 9:30 a.m., but there’s still plenty of time to explore before nap time. Levine Beckman also enjoys taking her daughter to the museum. “Our toddler loves the animal dioramas,” she tells me. “She likes staring up at the dinosaur bones too (and can say “roar” now), but the big stuffed animals are her favorite.” For food, my colleague Sophia Kercher recommends South LA Cafe, which is located at the museum.

Now for some rapid-fire ideas: Kercher suggests the Stoneview Nature Center, which is a plant-filled city sanctuary nestled in Culver City’s Blair Hills. Here you can chase hummingbirds, roam through the never-crowded garden and “visit Stoneview’s resident quails, which have their own fenced-in compound called, ‘Quallywood,’” she says. Times contributor Rachel Kraus, who recently wrote about the rise of mall parks in Southern California (and why parents are loving them), suggests the Proud Bird near LAX, which she calls “a one stop shop parent and kid utopia.” She adds, “You can order food and drinks (including from a full bar) and let your kids run around on the outdoor play structure, kick a ball on the turf or explore the vintage airplanes.” Also, be sure to check out our list of L.A. playgrounds that are close to coffee shops where you can get a jolt of energy if needed.

I hope these suggestions are helpful with planning your next morning adventure with your toddler and that you are able to create some fun new memories together. Happy exploring!

Melvin Edwards, a sculptor best known for abstract steel works that illustrated the history and resistance of African Americans, died March 30 at his Baltimore home. He was 88.

His death was confirmed by Alexander Gray Associates, the gallery that represents him.

Edwards rose to prominence in 1963 with the first works of what would become his most notable series, “Lynch Fragments.” A collection of small, wall-mounted sculptures, he combined fragments of found and recycled steel and welded them into forms of chains, sharp tools, barbed wire and other metal objects.

The series spans several decades, drawing inspiration from racial violence during the civil rights movement, the Vietnam War, his personal relationship to Africa, people in his own community and across the African diaspora.

Over the years, Edwards made more than 300 “Lynch Fragments.”

Recurring materials in his works held layered meanings. Barbed wire served as a symbol of violence and oppression, but also of agriculture, cultivation and survival.

“Melvin was somebody who looked at multiple dimensions of any situation or person,” said Alexander Gray, a gallery owner and close personal friend of Edwards. “He really looked at the world, not through any kind of binary lens, but through a personal lens that was respectful of other people’s perspective.”

Born May 4, 1937, in Houston, the eldest of four children, Edwards grew up surrounded by racial segregation. As a child, he took drawing classes and visited museums, and he also played football.

“The world that I came from was American racism, segregation. I may have been young, but I paid attention,” Edwards said in an introduction to “Lynch Fragments” at the Museum of Modern Art in New York.

Melvin Edwards, seen here in fellow sculptor Hal Gebhardt’s class at USC sometime between 1959 and 1960, died March 30 at his home in Baltimore.

His artistic career began while studying art on a football scholarship at USC, where he met and was mentored by Hungarian painter Francis de Erdely. Edwards’ L.A. roots were critical to his identity as an artist. Here, he began experimenting with welded steel, which became his primary medium.

After moving to New York City in 1967, he became, in 1970, the first African American sculptor to have a solo exhibition at the Whitney Museum of American Art.

Throughout his career, Edwards remained committed to public art, creating sculptures for universities, public housing projects and museums around the world.

Those who knew him described him as overwhelmingly positive, which shaped both his work and his relationships.

“Melvin’s community of artists was remarkable because it spanned the globe. You could spin a globe, land anywhere, say the name of the country or the city, and he would know three people there, minimum,” said Gray. “He could recall a conversation he had with a person 35 years ago without any hesitation. He had an incredible constellation of people that he was surrounded by.”

Spring has sprung in Los Angeles. In just a couple weeks, thousands of music lovers will make the trek to Indio’s Empire Polo Club for the Coachella Valley Music & Arts Festival, with dozens of L.A. chefs joining them. While in the desert, many festival goers take a detour through neighboring Palm Springs to explore museums, restaurants and bars before the dry climate climbs into the triple digits.

Closer to home, Los Angeles’ food scene is mourning the loss of two legendary haunts forced to permanently close their doors. After months of extensions, Cole’s French Dip closed at the end of March, though owner Cedd Moses said he was still hopeful that the city’s longest-running public house and rumored creator of the French dip sandwich would sell to a new owner. In Echo Park, Taix restaurant closed after 99 years of operation to make way for a six-story housing complex.

But it’s not all bad news for local restaurants. In Melrose Hill, a Bangladeshi chef has returned to the kitchen after a two-decade-long break from the industry. Across town, a viral smashburger spot from a celebrated chef is drawing lines for its juicy Wagyu patties. And for those heading to the desert, restaurant critic Bill Addison insists a modern Mexican pop-up is worth the weekday trip. Here are 13 places to put on your dining agenda this month:

March 30 (UPI) — Thieves made off with millions of dollars worth of paintings by Pierre-Auguste Renoir, Henri Matisse and Paul Cezanne in a heist last week at a private Italian museum, local authorities announced Monday.

The theft involved three paintings stolen from the Magnani-Rocca Foundation just south of Parma. The museum said the theft happened overnight March 22 into March 23.

The paintings were Les Poissons (The Fish) by Renoir, Still Life with Cherries by Cezanne and Odalisque on the Terrace by Matisse. All three artists were French

Renoir was a renowned leader of the Impressionist movement during the late 19th century, known for landscapes, figural paintings and still lifes. Cezanne, who worked around the same time as Renoir, was generally known as a Post-Impressionist whose interest in form and color would influence later Cubists and Fauves.

Working slightly later in the 19th century and early 20th century, Matisse was also considered a Post-Impressionist and an icon of the Fauvist movement.

All three artists were French.

“This is a loss that concerns the cultural heritage of all,” the foundation said in a statement posted to Facebook on Monday.

Italian public broadcaster Rai reported that the value of the three paintings was estimated to be just shy of $9 million, Sky News reported.

The museum said federal police were investigating the case.

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.

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.

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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.

South Kensington is even home to a street nicknamed Little Paris.

Also nicknamed Frog Alley, Bute Street has French bookshops and bakeries throughout.

Another train station getting an upgrade is London Liverpool Street, the UK’s busiest railway station.

And a new £460million, “first of its kind” train station is opening in Birmingham as part of the HS2 plans.

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.

(The Broad. © Diller Scofidio + Renfro (DS+R))

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.