Talk to the passionate team behind KidSTREAM, a new children’s museum in Ventura County, and they’ll tell you about the many lofty goals they have for the 21,000-square-foot space which opened to the public Thursday.
They’ll describe how the museum is the first of its kind in Ventura County and how they hope to make it accessible to as many local children as possible through outreach, discounts and free programming.
They’ll explain how the immersive exhibits highlight the county’s unique industry and geography, including an agriculture area where young visitors can pick pretend fruits and sell them at a farmers market and an ocean exhibit where miniature replicas of the Channel Islands emerge from the bouncy blue “Pacific Ocean.”
A drone view of the museum’s Pacific Ocean and Channel Islands-themed play area.
Avery Hanchar, right, and her brothers Oliver and Carter, test their climbing and balancing skills.
They’ll share that the STREAM in KidSTREAM is an acronym for Science, Technology, Reading, Engineering, Arts and Math, and talk about the activity carts and art projects that will enhance and support learning for young visitors.
But they are also well aware that for some families, the still-evolving space will serve a less highfalutin, if just as important, goal.
“Parents are looking for a good nap on the way home,” said KidSTREAM founder Kristie Akl. “And we can give them that too.”
Akl, along with KidSTREAM board chairman Bryan Yee and guest experience director Dani Hildreth, were giddy with excitement as they took me on a tour of the museum in the days before it opened.
This moment had been a long time coming, they said.
A high-energy former high school biology teacher with a make-it-happen spirit, Akl first began dreaming about a children’s museum in Ventura County in 2013 after taking her three daughters to KidSpace, a children’s museum in Pasadena founded by members of the Caltech community in 1979.
Akl loved Kidspace, but it was a full hour from the family’s house in Camarillo and she longed for something similar closer to home. For two years, she tried convincing others to create a children’s museum in Ventura County. When that failed, she formed a fledgling board in 2015 and incorporated as a 501(c)(3) nonprofit in 2017.
A young guest chases a cloth blown out of the tubes at the museum’s Amazing Airways exhibit.
“I was always optimistic,” she said. “You have to be to do something like this.”
The original plan was to open the museum in 2020, but fundraising efforts were hampered by the 2017 Thomas fire, which destroyed hundreds of homes in the area. A few years later came COVID shutdowns. The delays were discouraging, but Akl and a growing community of motivated believers used the time to build out their proof of concept by bringing science projects to local schools, neighborhoods and community events, creating online workshops and giving farm workers free science kits to help their kids get exploring.
“It was a herculean task and a huge community effort,” Akl said. “Everyone leaned in.”
Today she estimates that the KidSTREAM Children’s Museum touched the lives of 70,000 children in the Ventura area before ever opening its doors.
Luke Delossantos, right, and his son Grayson play pretend.
“They prototyped a lot of ideas,” said Yee, a father of three who took over from Akl as chairman of the board of KidSTREAM in 2022. “That showed us what works and what doesn’t work and what we should do next.”
In 2022, the city of Camarillo donated the building that housed the former public library to the museum and in 2024, the team raised enough money to bring children’s museum specialist Hildreth on board. Construction began in 2025.
In addition to the agriculture and Pacific Ocean areas outside, visitors will find a camping exhibit with an obstacle course, gratitude tree and a series of different shaped tents where kids can play. There’s also a sand pit where children can dig up replicas of pygmy mammoth bones. (The pygmy mammoth is a dwarf species of mammoth that was native to the Channel Islands.) A nature area includes a sensory path designed with the unique needs of neurologically divergent children in mind.
“There are 200,000 kids in Ventura County from a huge range of backgrounds including a lot of farm worker families,” Hildreth said. “The space is designed for all of them, newborn to 10 years old.”
In addition to the outdoor play areas, visitors will find an indoor “makerspace” with a white Lego wall where children can create vertical designs, four tables for art projects and a super-sized Lite-Brite.
Visitors walk through a greenhouse at the museum’s agriculture area.
“When you are 3 feet tall, it’s your whole field of vision,” Hildreth said.
Admission to KidSTREAM is $16 for adults and children over the age of 1, $13 for seniors and military, and $3 for families with EBT, SNAP or WIC cards. Membership options are also available.
Yee said market research suggests the new museum will reach as many as 150,000 people, and there is still room for expansion.
“We’re 21,000 square feet now with room for growth,” he said. “We’re not stopping, but we’re so excited to open our doors.”
The Culver City museum has purchased a historically significant midcentury modern building in Hawthorne, which it plans to transform into a research institute and interactive storage facility for its collections — a “living archive,” as it’s calling the facility.
The Wende plans to debut the space in spring 2028.
“In the museum world, there’s typically public space and storage space — meaning dead storage,” Wende founder and Executive Director Justin Jampol said in an interview. “And this living archive is a hybrid that combines both. It houses the collections and makes them accessible for discovery.”
The 24,000-square-foot building was erected in 1965 by shopping mall pioneer and developer Ernest Hahn to serve as his corporate headquarters. It was designed by movie theater architect George Nowak, who also designed the Writers Guild Theater.
The Wende plans to renovate the building, adding a 7,000-square-foot extension, with flexibility to further expand in the future. The facility will include state-of-the-art, climate-controlled storage for the museum’s more than 250,000-object collection of paintings, sculptures, photographs, tapestries and Cold War-era ephemera from the Soviet Union, East Bloc, China and other countries.
Interactivity, however, is the goal: so there will be spaces for “respite and inspiration,” Jampol said, such as a “scholar’s garden,” reading rooms and a library with a community learning lab and free coffee for visitors.
“The idea is to make it as engaging and comfortable as possible,” Jampol said. “Most archives are places that are very uncomfortable and uninspiring — think fluorescent lights blinking in a basement. The idea here is to open this up in a way that makes people want to be here. And focus on the content and not the space itself. We’re trying to create an experience that makes visitors want to go on an adventure.”
The Glorya Kaufman Community Center at the Wende Museum debuted this past fall.
(Stella Kalinina / For The Times)
The Wende’s Collections Department will be headquartered in the new building. The facility will also house a conservation center for endangered objects and paper archives, and will feature a digitization and imaging lab that will make the collections available online, free of charge.
It will also include reading rooms and research offices for up to 100 visiting scholars or artist fellows annually.
“The collections, instead of being hidden in a box, will be on full view,” Jampol said. “When you walk through, you won’t see boxes. You’ll see vases, tapestries, ceramics and more.”
The Wende Museum in Culver City opened its doors in 2017 inside a former 1949 atomic bomb shelter. It now draws about 25,000 visitors annually, who come to take in four exhibitions and more than 60 public programs. Admission is free.
Rapid expansion has been a hallmark of the Wende of late.
In September, it debuted a $17-million culture and wellness center offering free yoga, meditation, sound baths and therapy. The 7,500-square-foot facility was made possible with funding from the late philanthropist Glorya Kaufman who died a month before the building opened to the public. It’s called the Glorya Kaufman Community Center.
The Wende’s Glorya Kaufman Community Center includes a century old A-frame theater, an old MGM prop house, for free culture and wellness events.
(Stella Kalinina / For The Times)
In February, the Wende bought a three-bedroom house built in the 1940s adjacent to the museum’s campus that will be used as a live-work space for photographers in residence. It will include a community space for photography workshops and a post-production studio. The Nikita Foundation and the Victor Family Foundation provided funding.
It debuted a tiny home on its campus last fall, nicknamed “The Stevie” after donor Steve Markoff. It’s used for cross-disciplinary artist residencies.
A facility for interactive museum storage and research is not a new concept in Los Angeles.
The so-called “Resources Center” was built to house, conserve and care for both museums’ collections in a state-of-the-art, climate-controlled and fire-safe environment. It also serves as a research destination for scholars, artists, tribal representatives and others to study the collections.
Jampol said that the project will enable the Wende to serve a wider swath of visitors, from specialists to the general public, and to venture outside of Culver City to engage other communities.
“It’s about making the collections both safe and accessible,” he said. “We looked to the Autry for inspiration alongside the V&A East in London — they both invite people in from the community, alongside scholars, to explore the collections. It’s the democratization of art — I love the ethos and spirit of that.”
Councillor Mark Elliott, cabinet member for resources, said: “To get an entirely new world-class museum including improvements to the surrounding public realm for £54m will be a great achievement.”
The museum website states: “The new Museum will champion fashion’s transformative power as a global industry and expression of creativity, culture and identity.
Bath is often named one of the UK’s prettiest citiesCredit: Alamy
“Our mission is to craft a ground-breaking museum that brings fashion to life for people locally and globally, helping to reshape Bath for the future.
The new museum is part of a wider £7million Milsom Quarter Masterplan of Bath, which will also see improved streets and public spaces as well as as new creative workspaces.
A BELOVED British museum has been forced to shut permanently after the building was deemed unsafe.
The museum is dedicated to preserving over 50 historic trams – an integral part of the town’s transport heritage.
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The beloved Tramtown museum is on the site of a former tram depotCredit: Visit BlackpoolSome of Blackpool’s most historic trams are housed in Tramtown MuseumCredit: Facebook / Blackpool Tramtown
Electrical faults in the building have made Blackpool‘s Tramtown museum uninhabitable to the public, a structural engineer’s survey said.
The former working tram depot dates back over 100 years, becoming a dedicated museum in 2021 following seven years of heritage tours.
The museum had previously been given a £50,000 lifeline from the Government’s Pride in Place Impact Fund to fix the major electrical faults in the building.
Blackpool Council suggested these repairs would allow the museum to reopen for a short term period.
The building has been forced to shut due to electrical faults making it uninhabitableCredit: Facebook / Blackpool TramtownGreen tram on Blackpool sea front, EnglandCredit: Facebook / Blackpool Tramtown
However, a video from April 28 on the Tramtown YouTube channel revealed the building could not be used, leaving volunteers concerned how they were previously allowed into the building given how unsafe it was.
This unique museum gave a rare insight into the history of Blackpool’s trams and illuminations, welcoming over 500 visitors in its opening week.
Affordably priced at £5 per ticket, or £2.50 for children, the museum included a small, donation-based cafe, built for visitors less than a year before its closure.
Blackpool Council leader Lynn Williams said: “While the work was ongoing fixing the electrics at Tramtown, an independent structural engineer carried out a survey of the building.
“That independent report has come back saying the building is unsafe.
“The only public entrance is unsafe and we can’t gamble with the safety of volunteers and visitors by opening an unsafe building.”
Blackpool council leaders now hope to submit a joint funding bid and steering group to maintain a long-term future for the museum.
“I want to make very clear that this is not the end of heritage trams in Blackpool. The news will double our resolve to set up a joint steering group to create a better future for Tramtown and our historic trams,” Williams continued.
Blackpool Transport’s new managing director, Lea Harrison, said: “Blackpool is as famous for its historic trams as it is for its tower and the Pleasure Beach and we are fully committed to preserving the town’s rich tramway heritage for future generations to enjoy.”
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.
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.
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.
