Space

It could cost nearly $1.2 trillion to develop, field, and operate a new missile defense shield like the one the Trump administration proposes to establish under its Golden Dome initiative, according to a new estimate. Deploying and sustaining a constellation of 7,800 space-based anti-missile interceptors accounts for more than 60 percent of that projected price tag. This puts a particular spotlight on the potential costs of what is arguably viewed as the most critical and controversial aspect of the Golden Dome plan. At the same time, even with this grand investment, the ability of the space-based interceptor layer would only be able to engage 10 targets simultaneously, according to the Congressional Budget Office (CBO).

CBO released a detailed cost estimate of what it described as a notional “National Missile Defense System” yesterday. CBO’s $1.191 trillion figure covers various expenses over a 20-year timeframe. This is more than double the projected price tag that CBO had put forward last year. President Trump first announced plans for a new national missile defense architecture in January 2025. The initiative was originally dubbed Iron Dome before being renamed Golden Dome.

“The analysis is based on the objectives laid out in the President’s executive order titled ‘The Iron Dome for America.’ The Department of Defense’s (DoD’s) implementation of that order – an initiative now called the Golden Dome for America (GDA) – is in the early stages,” CBO’s latest estimate explains up front. “Although documents from DoD’s budget request for the 2027 fiscal year provide five-year projections of funding plans for GDA, details about what and how many systems will be deployed – the ‘objective architecture’ – have not been released, making it impossible to estimate the long-term cost of the GDA system being contemplated by DoD. In the absence of specific plans for GDA’s objective architecture, CBO has estimated the cost of a notional NMD architecture based on the defensive systems and capabilities that are called for in the executive order.”

“DoD’s stated cost appears to cover a shorter time frame than CBO’s analysis and may reflect a different scope of activities and budget categories. Even so, that stated cost is far lower than CBO’s estimate for a notional NMD architecture consistent with the ‘Iron Dome” executive order,” CBO’s assessment adds. “That difference suggests either that GDA’s objective architecture is more limited than CBO’s notional NMD system or that DoD expects significant funding from other accounts to contribute to GDA (or both). For example, procurement of interceptors might be funded directly through the services’ missile procurement accounts instead of the GDA fund.”

For its part, the Trump administration has most recently pegged the price tag for Golden Dome’s “objective architecture” at approximately $185 billion. Last year, President Trump himself had put forward a $175 billion figure, which he said would include systems to be fielded “in less than three years.” TWZ has noted on several occasions now that the administration’s estimates may just cover a portion of the planned Golden Dome architecture, which could easily cost hundreds of billions in total to field and operate.

CBO’s analysis is broken into six main elements – the space-based interceptor constellation, upper wide-area surface sites, lower wide-area surface sites, regional sectors, self-defense for four existing surface sites, and a space satellite constellation for tracking targets – as well as a collection of miscellaneous ancillary costs. The surface site and regional sector categories primarily consist of costs associated with expanding on existing land and sea-based anti-missile interceptor and sensor capabilities, such as Aegis Ashore, the Terminal High Altitude Area Defense (THAAD) system, and the Next Generation Interceptor (NGI).

An all-new constellation of 7,800 space-based interceptors is, by far, the largest single component of CBO’s projection. This capability is estimated to cost $723 billion to acquire, and then another $1 billion annually to operate and maintain ($20 billion over 20 years), for a total of $743 billion. This is 60 percent of the total estimated $1.191 trillion price tag, and 70 percent of the projected acquisition costs.

CBO provides a detailed breakdown of how it arrived at these figures.

“The average cost per SBI [space-based interceptor] satellite would be $22 million. That average is for the initial 7,800 SBIs as well as the nearly 1,600 SBIs that would be needed each year thereafter because of the satellites’ short five-year service life. The need to periodically replace SBIs means that the acquisition costs would be spread over the life of the system,” according to the cost assessment. “The total is based on a cost of $500 per kilogram to launch the SBIs into orbit. Although that launch cost is lower than typical launch costs today, it is thought to be achievable using the new generation of heavy-lift rockets, such as the Space-X [sic] Starship, that are being developed. Even lower launch costs may be realized in the future, but that could have only a limited effect on total costs for the SBI layer because, even at $500 per kilogram, launch costs account for less than 5 percent of the total.”

“Both the very large number of SBIs needed to engage just 10 targets simultaneously and the SBIs’ short service life are the result of how the satellites move in orbit. To be close enough to reach their targets within the three to five minutes available in the boost phase, SBIs must be in LEO at altitudes of roughly 300 to 500 kilometers,” it continues. “However, the characteristics of satellite motion in LEO affect the size of constellations meant to provide continuous coverage over specific locations on Earth. (For boost-phase SBIs, “coverage” is relative to an ICBM’s [intercontinental ballistic missile] launch location, not the location of the ICBM’s target.)”

“Satellites in LEO cannot be fixed over specific points on Earth; they orbit in a band centered on the equator and bounded equally north and south by their orbital inclination (usually measured in degrees of latitude). Therefore, constellations of many SBIs are needed to ensure that a sufficient number (20, for example, if two shots are needed against 10 ICBMs) are always close enough to potential launch locations to reach targets during the boost phase,” the assessment adds. “The total number of satellites in a constellation depends mainly on the speed of the interceptors, how quickly they can be launched, the number of simultaneous targets the system needs to handle, and the latitudes to be covered.”

“Because atmospheric drag at the altitudes at which SBIs would orbit causes their orbits to decay over time, each satellite would need to be replaced roughly every 5 years. (By contrast, the service life of surface-based interceptors can be 20 years or more, and surface-based interceptors can be maintained and upgraded during that time.),” CBO also says. “For CBO’s notional constellation, roughly 30,000 satellites would be needed to keep 7,800 in orbit for 20 years.”

All this being said, CBO’s notional space-based interceptor architecture is still predicated only on defeating a relatively limited strike (a single wave of 10 ICBMs) from “a regional adversary,” a term typically used to describe countries like North Korea and Iran. The Trump administration has indicated in the past that Golden Dome is intended to defend against a much broader array of threats, including from peer adversaries like Russia and China.

Furthermore, CBO points out that its cost estimate does not include additional space-based interceptors designed to engage missiles during the mid-course portion of their flight, which are also being explored now as part of the Golden Dome plan.

“Although the notional NMD system analyzed by CBO would be far more capable than defenses the United States fields today, it would not be an impenetrable shield or be able to fully counter a large attack of the sort that Russia or China might be able to launch,” the latest cost estimate also stresses. “As a result, the strategic consequences of deploying an NMD system with the capacity considered here are unclear because they hinge on an adversary’s perception of the defense’s capability and how that adversary chose [sic] to respond.”

“Such a deployment could prompt regional adversaries to increase their inventories of long-range missiles (nuclear or conventional) or to pursue more effective countermeasures to improve their chances of penetrating the NMD system,” the assessment notes. “Peer or near-peer adversaries could overwhelm CBO’s notional NMD system with salvoes of many missiles in a large-scale attack with their current nuclear forces, although they still might choose to increase their arsenals of long-range missiles (both nuclear and conventional) to ensure they maintain that capability.”

With this in mind, “DoD could opt to build a national missile defense system that was smaller or larger than (or altogether different from) CBO’s notional system. A larger system designed to handle a full-scale Russian ICBM attack, for example, could include more space-based interceptors or more NGIs at the three upper wide-area surface layer sites,” it also cautions. “It could also include more interceptors at lower levels. A smaller system, by contrast, might be able to engage fewer missiles or protect fewer areas. The total number of regional sectors in CBO’s notional system is based on providing some terminal coverage to the entire country as suggested by the language in the ‘Iron Dome’ executive order.”

As mentioned, putting interceptors in space has been one of, if not the highest profile aspect of the stated Iron Dome/Golden Dome plan from the very start. Space-based weapons were also a central element of the Reagan-era Strategic Defense Initiative (SDI), which was directly referenced in the original executive order outlining the new missile defense initiative. Infamously dubbed “Star Wars” by its critics, SDI never came close to achieving its ambitious goals. Its planned anti-missile capabilities in orbit were especially hampered by technical challenges and high costs.

The U.S. Space Force is already leading a new SBI program, with a stated goal of demonstrating a relevant capability integrated into the larger Golden Dome architecture by 2028. Space Force has already awarded deals with a combined value of $3.2 billion to 12 companies for SBI-related work. Several firms, including Lockheed Martin, Northrop Grumman, and Anduril, have already announced work on prototype interceptor designs.

The Northrop Grumman video below includes a computer-generated clip depicting a space-based interceptor engaging a target outside the Earth’s atmosphere, starting at 0:13 in the runtime.

Northrop Grumman Third Quarter 2025 Highlights

Over the past year and a half or so, U.S. military officials have voiced particular support for the space-based component of Golden Dome, saying that advances in relevant technologies in the decades since SDI make it a more viable concept today. They have also downplayed the costs, as well as the geopolitical ramifications of further weaponizing space, as necessary to defend Americans against growing missile threats.

“I think there’s a lot of technical challenges,” Chief of Space Operations Gen. Chance Saltzman said during a live interview as part of Defense One‘s State of Defense 2025: Air Force and Space Force virtual conference last year. “I am so impressed by the innovative spirit of the American space industry. I’m pretty convinced that we will be able to technically solve those challenges.”

“Depends on where you sit, right, you know? But to say that it’s the responsibility for the U.S. government to protect its citizens from emerging threats makes perfect sense to me,” he added at that time when asked about the potentially destabilizing impacts of Golden Dome. “And we clearly see a country like the PRC [People’s Republic of China] investing heavily in these kinds of threats, whether it’s hypersonic [weapons], whether it’s threats from space. And so now it’s time for the U.S. government to step up to the responsibilities to protect American citizens from those threats.”

“We’re basically responding to a warfighting domain where our adversaries have already put interceptors in space, and we want to make sure that we rebalance that in terms of deterrence,” Saltzman said more recently in response to a question from our Howard Altman at a roundtable on the sidelines of the Air & Space Forces Association’s (AFA) annual Warfare Symposium in February.

“Interceptors by definition refer to a handful of well-acknowledged capabilities that other countries have, like ground and air-launched anti-satellite missiles or capabilities like the SJ-21, which has a grappling arm,” a Space Force spokesperson later clarified to TWZ when asked for further details about the “interceptors in space” Saltzman had mentioned.

This all highlights the very real prospect of actual fighting in space during future conflicts, something the U.S. military is increasingly preparing for, as you can read about more here. What would be necessary to protect 7,800 anti-missile interceptors in orbit, as well as critical associated space-based sensors and communications constellations, could easily add to Golden Dome’s total cost.

As CBO makes clear in its latest assessment, much is still unknown publicly about the actual scale and scope of Golden Dome, and what it might therefore cost in the end. At the same time, space-based interceptors are a very real part of the planned architecture, with work underway now to develop those capabilities.

The concept that CBO has outlined already involves an extreme expenditure of money and resources, all for a capability it still assesses to be useful only against relatively limited barrages from rogue states. Those are threats that could well be addressed using far less expensive surface-based systems, though not ones that can intercept targets in their boost phase.

As underscored now by CBO’s latest cost projection, a relevant constellation of interceptors in space remains likely to be the most costly and complex aspect of Golden Dome, if it comes to fruition at all.

Contact the author: joe@twz.com

IF you’re an over-packer who constantly battles to zip your suitcase shut, this Amazon find is a game-changer.

Shoppers are rushing to buy these compression packing cubes that do far more than just organise your holiday outfits – they actively squeeze your clothes down into compact bundles, too.

While regular packing cubes can save you around 15% luggage space, compression cubes can save you up to 50% – effectively giving you another half a suitcase to fill.

Travel Compression Packing Cubes, £19.99 (was £29.99)

The cubes are slashed to nearly half-price on Amazon, where you can snap them up for just £19.99 – 33% down from the usual £29.99.

These compression cubes come in handy for all sorts of holidays, whether you’re heading off backpacking or want to pack as many Ibiza party outfits as possible.

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They even have a waterproof compartment to separate any dry and damp clothes from after your travels.

One pleased shopper said “These travel compression packing cubes were a game changer when I was travelling around Thailand with just a backpack.

“The sizes are really well thought out, making it easy to separate clothes, keep everything organised, and maximise space”.

Another shopper said “Really good packing cubes for the price I paid.

“Makes packing much easier and more organised. I wish I had bought them years ago!”

Travel Compression Packing Cubes, £19.99 (was £29.99)

These packing cubes have rip-resistant double stitching and zip smoothly, even when you’ve stuffed them full.

Plus you’re even doing your bit for the environment by picking these cubes, as they’re made from recycled plastic bottles.

The compression packing cubes come in six different colours: grey, beige, blue, black, green and red.

As well as condensing down your clothing into tightly-packed bundles, packing cubes can be a great organising tool.

You can pick an item to bundle into each section – t-shirts, trousers, dresses, socks, toiletries – then pick a cube to pop each of them into.

That way when you need to grab something on holiday, you won’t be rummaging around in your suitcase – you’ll know exactly where to find it.

Travel Compression Packing Cubes, £19.99 (was £29.99)

Prices correct at time of publication.

Brace yourself, Coronado. The hospitality maven who brought San Diego its most over-the-top maximalist hotel — the Lafayette in North Park — is back with another glitzy project, this time in the wealthy island city known for its traditional bent.

Opening Thursday, Baby Grand includes a 35-foot faux rock wall, a 20-foot waterfall, a Mediterranean restaurant that feels like a Greek ruin being consumed by a jungle and a hidden oyster bar full of crystal and mirrors. All of this, including the Spanish statuary, Moroccan fixtures and Murano glass, is squeezed onto an Orange Avenue lot that once held a 1950s motel. If Liberace had run away with an art historian, they might have landed here.

The idea was “to create this little mirage within the mirage that is Coronado,” said Arsalun Tafazoli, founder of CH Projects, the group behind a multitude of design-intensive establishments across San Diego including the speakeasy Raised by Wolves, the hi-fi listening bar Part Time Lover and the Middle Eastern restaurant Leila.

The Baby Grand hotel and its restaurant Night Hawk stands along Orange Avenue about a block from the Hotel del Coronado.

The patio dining area of Coronado’s new Night Hawk includes seating for about 150.

Baby Grand’s high-density, high-gloss environment, which cost about $17 million and took about five years to complete, will come as no surprise to those who have followed Tafazoli’s earlier ventures.

Asked about the design philosophy behind the 2023 renovation of the Lafayette — the company’s first hotel — Tafazoli had a simple answer: “More is more.”

The Baby Grand project, put together in collaboration with design studio Post Company, is cut from the same cloth, describing itself as a “polychromatic pastiche” on its website. The goal, Tafazoli said, is to enrich Coronado’s culture and give people a respite in an anxiety-ridden time. But “it is different,” he said. “I don’t know if it is going to be embraced.”

Getting the necessary city permissions “was definitely a struggle,” Tafazoli said. “Had I known how difficult this was going to be, I don’t know …”

In the days before the hotel’s opening, Tafazoli, 44, led a tour of the site. The entrepreneur, whose heritage is Persian, wore his hair in braids and a button-down Supreme shirt featuring Barack Obama.

The Baby Grand hotel’s guest rooms feature separate tub and shower.

“I have a very one-dimensional existence. I’m single. I have no kids. This is what I do,” said Tafazoli, who grew up in San Diego and studied at UC San Diego. He lives now in downtown San Diego’s East Village, where his company is based and where his first CH venture, Neighborhood, opened in 2007.

Though his company started with eating and drinking establishments, Tafazoli said, his goals were always to create and run hotels, “the pinnacle of hospitality.” As a child of divorce, he said, he may have a heightened awareness of when the energy feels right in a room and when it doesn’t. Creating social environments, he said, gives him some control over that. Moreover, he added later, “beauty is important to me, because it conveys care.”

To make the most of Baby Grand’s compact location (2/3 of an acre), the CH team has exported parking. Instead of leaving their cars on site, guests will hand keys to valets who will deposit vehicles in a Bank of America parking structure a block away. That move freed up space for not only palm trees, torches, tables, booths and 21 pieces of statuary from Spain, but also a little faux beach with a 4-foot-deep wading pool that can hold a handful of people.

“I can’t tell you how many iterations of sand were brought in and taken out,” Tafazoli said. “Sand is its own universe. You want local sand. But local sand was not conducive to that feeling.” So the sand is from Turkey.

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1. Guest shower in an en suite bathroom. 2. Hotel design touches include guest bathroom door handles. 3. Fiberglass clamshells serve as headboard in guest rooms.

The property’s main restaurant, Night Hawk, is Mediterranean, with cooking by open fire, a Greek ruins vibe and seating for about 150. The second restaurant lurks behind the lobby — a hidden oyster-and-Champagne bar that holds about 35 people, reservation only. The space, called Fallen Empire, features red mohair booths, built-in Champagne buckets, mirrored walls and chandeliers, sconces and lamps from the Italian glass-blowing island of Murano. The floor is a custom mosaic of sea creatures.

There are 31 guest rooms, beginning at $350 per night. Each is dominated by a custom-made clamshell headboard (fiberglass). Beds are surrounded by animal-print seating, parquet oak flooring, marble tables, mirrored cabinets and custom wallpaper. The rooms measure roughly 300 square feet each, nearly half of that space taken up by their elaborate bathrooms, each with separate tub and shower, sinks from Morocco.

Now picture all of that placed in the heart of Coronado (population 20,192), which sits next to Naval Air Station North Island and is known for attracting well-heeled retirees. The median home value is $2.5 million.

Up the block from the Baby Grand is the grand dame of San Diego County tourism, the Hotel del Coronado, which went up in 1888, completed a $550-million renovation last year and starts its rates north of $600. Another option is the Bower Coronado, also a dramatically upgraded motel that reopened in 2025 with prices similar to Baby Grand’s but a much more buttoned-down style.

This view from above at the Night Hawk restaurant space shows a stone booth, elaborately patterned cushion and table top.

All of those properties stand close to Coronado’s wide, sandy beaches — which means they all face challenges as waters are often fouled by the northward flow of untreated sewage from greater Tijuana. The longstanding problem has worsened in recent years, and Coronado’s Central Beach was closed to bathers on 129 days in 2025 because of unsafe bacteria levels. The U.S. and Mexican government say they have sewage-treatment projects in progress, with improvements expected by the end of 2027.

“We are, unfortunately, not marine scientists just a group of deeply overcaffeinated hoteliers with strong opinions about lighting, linen textures, and good design. So please check local water conditions before swimming,” Tafazoli wrote in a statement.

Asked his target market for the new hotel, Tafazoli said he was looking close to home.

“I see this as a staycation for locals” from San Diego County, Tafazoli said. “The big risk is that we don’t get locals and it doesn’t resonate with tourists who like the status quo.”

That said, Baby Grand and Coronado might be a better match than some imagine. Christine Stokes, executive director of the Coronado Historical Assn. and Museum, sees at least a few parallels to Baby Grand in local history, beginning with the historical association’s own building. From the 1950s into the 1990s, Stokes noted in an email, Marco’s Restaurant operated in the space, with a “Roman Room” bar — “a dark and immersive hidden gem where bartenders performed sleight-of-hand magic tricks.”

Guest rooms, including No. 103, are labeled with inscribed brass clamshells.

Then there was the Hotel del Coronado’s Circus Room restaurant, open from the 1930s into the 1960s. That was “an immersive environment, using specialized murals and striped tents on the walls,” Stokes wrote. It’s also where, in 1950, the manager of an L.A. TV station spotted a promising young piano player and decided to give him a chance on screen. The pianist’s name was Liberace.

However people respond to the particulars of the new hotel, Tafazoli said, he knows that the larger setting of Coronado is a special place.

From his office in San Diego’s East Village, “it’s a six-minute drive,” he said. “I come off that bridge, and I feel like I’m in a different place.” It’s amazing, he said, “to be so close and feel so far away.”

The Wende Museum of the Cold War announced on Saturday that it plans to build a $16-million expansion in Hawthorne.

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.”

Construction on the building, at 2311 W. El Segundo Blvd., starts May 15. Funds for the project came from the Arcadia Fund, the Kaufman Foundation and the Ralph M. Parsons Foundation, among other capital supporters.

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 Autry Museum of the American West — after merging with the Southwest Museum of the American Indian in 2003 and since stewarding its collection of Indigenous art and artifacts — debuted a $32-million, 100,000-square-foot facility in Burbank in October 2022.

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.”

In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

Candles flickered on long wooden tables beneath a sprawling mulberry tree as Matt French stepped in front of the doorway of his sleek Pioneertown home, holding a drink aloft. Dressed in fitted jeans and a dark western shirt, he welcomed the roughly 60 guests who had assembled in his front yard for the kickoff event of the High Desert Art Fair that would take over the 19-room Pioneertown Motel he owns with his brother Mike.

“We’re super honored to be hosting this event and hosting tonight,” said Matt, addressing a crowd that included local artists, musicians and well-heeled art world types from L.A. “This is the exact kind of event that we want to have in the desert.”

Although the French brothers were not directly involved in the art fair itself, the evening’s itinerary had their fingerprints all over it. Dinner was held in front of the expansive compound they share, and the food — perfectly grilled tri-tip with chimichurri, sourdough bread with cultured butter, flatbread pizzas — was prepared by the owners of the Old Town Public Market, a yet-to-open organic deli and wine bar that would soon occupy another building the brothers own in nearby Yucca Valley. After dessert, the ringing of an old-fashioned triangle bell alerted guests that it was time to cross the road to the Red Dog Saloon, another French brothers business, where Shepard Fairey was already DJing to a packed crowd that spilled onto the rustic porch, the cacophony of laughter, bass and cigarette smoke wafting down the town’s main drag.

It was just another dreamy, highly curated night in the high desert of Matt and Mike French’s making.

Vintage design details abound at the French brothers’ properties, including the Pioneertown Motel.

Few people have had more influence on the modern aesthetic of the sun-drenched desert near Joshua Tree National Park than the two brothers from Portland whose properties regularly pop up in travel publications, Instagram reels and “best of the desert” lists. Since buying the Pioneertown Motel in 2014, Matt, 42, and Mike, 37, have built a portfolio of businesses that tap into the mythology of the California desert — part cowboy, part Rat Pack, part cosmic traveler. Across historic restoration projects like the motel where Gene Autry once played cards all night, the Red Dog Saloon where 1940s film crews unwound after long days of shooting and the Copper Room, a restaurant and bar at the Yucca Valley airport that was a favorite of Gram Parsons, their properties give tourists and locals alike a taste of the desert’s history and glamour all while making it feel like patrons have just stumbled upon these magical spots themselves.

Now, the brothers, along with Eric Cheong, a designer and the third partner in their company Life & Times, are expanding their unique vision to other parts of the desert with two new projects. In late 2026, they will open Lord Fletcher Inn, a 1960s-era steak house in Rancho Mirage where Frank Sinatra occasionally stepped behind the bar. Miracle Hill, the brothers’ colorful take on a geothermal bath house in Desert Hot Springs, is slated to open at the end of 2027.

The French brothers purchased the 1960s-era restaurant Lord Fletcher’s in Rancho Mirage, where Frank Sinatra occasionally tended bar.

Designer Eric Cheong, left, on the porch of the Red Dog Saloon, with Matt and Mike French.

With these two new businesses, as well as an ambitious expansion of the Pioneertown Motel, including an extension of the Western facade of Mane Street that was approved in December, the brothers say they feel a renewed commitment to the desert community where they have lived and worked for more than a decade. Although they toyed with the idea of doing projects in other parts of the country, they ultimately decided that the world they have created in this dry desert landscape is too valuable to leave.

“The lady at the post office has treats for my dog and knows my dog’s name,” Mike said. “You can’t buy your way into community like that. You have to earn it.”

The French brothers’ story may sound like a desert fairy tale, but they insist it wasn’t always that way.

Although they’d been traveling to Palm Springs for family vacations since they were kids, it wasn’t until 2009 that Matt first drove up the rocky mountain pass to Pioneertown and fell in love with the funky desert community originally built in the 1940s as a working film set. After learning that the rundown motel across the street from Pioneertown’s iconic roadhouse and concert venue Pappy & Harriet’s was for sale, Matt, who was working for a boutique hotel company at the time, convinced Mike to join forces with him and buy it. It took five years of starts, stops, heartbreak and nearly giving up before the deal finally went through in 2014.

“Matt was really the driving force,” Mike said. “I was like, this is nuts, but I’m in.”

Those early days were challenging. One of their first orders of business was to evict the previous owner’s weed dealer who had been living in one of the rooms rent-free. The manager at the time was known to yell people off the property. Skilled workers were hard to find, and the desert’s popularity as a tourist destination had not yet ballooned.

Mike and Matt French are setting the stage for their next venture, Miracle Hill, a geothermal bath house in Desert Hot Springs.

“In retrospect it can look very obvious and very, like, ‘Oh, of course, the hotel’s cool and it’s right next to Pappy’s,’” said Matt. “But that is not what it felt like back then.”

The brothers also had to contend with a notoriously fierce local community that was deeply suspicious of the lanky millennials from out of town.

“We had our claws out and our guns cocked,” said David Miller, 81, a longtime local and the president of Friends of Pioneertown. “But it turned out that they are model citizens.”

For two years, the brothers ran the motel remotely while continuing to work other jobs — Matt for a real estate company that did large-scale development in Portland and Mike for a ticketing and events start-up in L.A. In 2017, they decided they needed a home base in town and bought a rundown house with an even more rundown barn a 10-minute walk from the motel. They have since renovated it into two homes just yards from each other with a shared backyard that includes a pool, sauna, cold plunge, hot tub and custom-built hammock that can hold up to 20 people. In 2018, they moved in full time.

A Pioneertown Motel pick-up truck, spotted outside the kitchen window of Matt French’s home.

Two years later, in August 2020, they opened the Red Dog Saloon, a full-scale renovation of the historic bar of the same name that originally opened in 1946. The brothers say they weren’t necessarily looking to open a new business — they just really wanted another place to eat and drink in town besides Pappy & Harriet’s. Their original plan was to create a 16-seat whiskey bar in a small building across from Pioneertown’s picturesque Post Office, but their partners, restaurateurs Adam Weisblatt of Last Word Hospitality who operates Hermon’s and Found Oyster and Eric Alperin from the Varnish, suggested they look at the much larger Red Dog Saloon instead.

“They were like, ‘You can actually make money that way,’” Mike said about the restaurant and bar that can serve as many 1,000 people a day. “And we were like, ‘Yes, that’s a great point.’”

The same team came together again to open the Copper Room, a higher-end, full-service restaurant at the Yucca Valley Airport that opened in 2022 on the site of a dive bar they used to frequent called Wine & Roses.

In 2020, the brothers opened the Red Dog Saloon, a full-scale renovation of the historic bar of the same name that originally opened in 1946.

“At the time we really weren’t sure if Yucca Valley could support that kind of dining experience,” Mike said. “Now we have a $200 tomahawk steak served tableside on the menu and they sell out. There is no way we could imagine that happening when we opened.”

As they did with the motel and the Red Dog, the brothers and Cheong leaned into the history of the space when designing the Copper Room. They kept the curved bar where Gram Parsons drank his last margarita intact but went with a 1950s vibe in the main dining room, with heavy brocade banquets and floral wallpaper, nodding to the restaurant’s opening in 1957.

Cheong said that across each project, he and the French brothers leaned heavily on the space’s unique history for design inspiration.

The vintage-style entrance into Red Dog Saloon.

“We really base it around story and lore,” Cheong said. “The spaces merge together because there is a similar strategy, but it’s not a style. It’s not a color palate. It’s like a feeling of respect and honor, but it’s also our twist on it.”

The brothers’ three businesses were thriving, but in 2023, they found themselves in a lull. “We were having trouble figuring out what to do next,” Matt said. “ We have a very specific criteria of what we want to do and we were like, maybe we look outside of the desert. Maybe things here are plateauing.”

The brothers already had one property outside of the desert — Captain Whidbey, a historic lodge and resort on Whidbey Island in Washington that was named one of the best hotels in the world by Travel + Leisure in 2020 — but ultimately they concluded that the price of leaving Pioneertown to start over somewhere new was too high to pay. They had invested years into building relationships with the high desert’s eclectic community. Somewhere along the way they had also come to feel like chosen family.

The French brothers and Eric Cheong leaned into the history of the space when designing the Copper Room.

“So many things were pulling us in different directions, but life is more personal than business,” Mike said. “So we committed to the desert, which was not just committing to doing business in the desert, but was really committing to living in the desert.”

Since then, more opportunities have opened up. The brothers purchased Lord Fletcher’s in 2025 after a real estate agent happened to mention a 1966-era steak house in Rancho Mirage was for sale. Miracle Hill came about in part because the town of Desert Hot Springs is eager to grow its reputation as a destination for geothermal bathing and offered to help them find a suitable location. For the brothers, it represents the first time they are creating a space from the ground up. Construction has yet to begin, but they have already crafted a story for the space that builds off the community’s early 20th century history and mystical geology.

“The core narrative is that it feels like an eccentric, gregarious host’s home that you are going into,” Mike said. “And the mountain alignment, the sun, the wind, the faults and the geothermal water are the five forces that create a vortex-type energetic field deal. So we’re kind of leaning into that.”

At the same time, Mike revived the community’s historic Pioneertown Gazette, which he originally started printing as an in-room publication but has since expanded to a weekly newsletter that enthusiastically highlights the growing calendar of events happening at several venues across the high desert. And in the next few years, the brothers plan to begin construction on the next phase of the Pioneertown Motel, which will include a swimming pool, restaurant and 47 new rooms.

A game of horseshoes at Pioneertown Motel.

Signage pointing to the Red Dog Saloon.

Pioneertown’s history buffs, and there are many of them, will tell you that the picturesque community has a long history of newcomers showing up with dollar signs in their eyes, hoping to make it big in the desert. But few, if any, have been as successful as the French brothers at making those businesses come to life. It helps that they have a good sense of design and an intuitive understanding of what people want. It also helps that they’ve attracted like-minded people like Jeffrey Baker, the warm and personable general manager at the Copper Room and future general manager of Lord Fletcher’s who excels at management (a self-described weak point for Matt and Mike) and makes everyone he meets feel like an instant friend.

But their true secret sauce might be that aside from the motel, their businesses are designed to cater to the local community at least as much as to tourists.

“People here love these restaurants,” Matt said. “They love the Red Dog, they love the Copper Room, they love the Gazette. So we felt that vibe shift of people being supportive and excited about what we’re doing.”

It also helps that over the last few years, some bad actors have demonstrated what the alternative might look like, with new management at Pappy’s that alienated locals from their longtime watering hole and a wannabe developer who floated much-maligned plans to build a concert venue and a massive glamping complex in Pioneertown. (Both parties have since left the area.)

“I think that has given some people some perspective that having locals do it right, and seeing that we are committed, has really made a difference,” Matt said.

Mike and Matt French walk down Pioneertown’s Mane Street.

It’s been a winning business formula, but if you believe the brothers, there’s more to it than that. Creating spaces where everyone from foreign tourists to drunken bachelorettes to crusty locals to families with young kids feels comfortable and welcomed is all part of the desert ideal they’ve been curating for more than a decade.

Mike said that there’s nothing like seeing Pioneertown old-timers drinking with their buddies at the Red Dog.

“It’s so good,” he said. “And then you find other people who get lit up by the same silly thing, and it’s like, maybe it’s not so silly. Maybe it’s the whole point.”

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.”

April 27 (UPI) — SpaceX‘s first Falcon Heavy rocket in 18 months was called off due to unfavorable weather Monday at NASA’s Kennedy Space Center in Florida.

The rocket, which was meant to carry a ViaSat-3 F3 communications satellite into orbit, was scheduled to launch during an 85-minute window beginning at 10:21 a.m. EDT.

SpaceX announced on social media that the launch would be rescheduled.

“Standing down from today’s Falcon Heavy launch of the @viasat-3 F3 mission due to unfavorable weather,” the company said on X. “Vehicle and payload remain healthy. A new target date will be shared once confirmed.”

The 45th Weather Squadron earlier said that Monday’s launch window had about a 70% chance of favorable weather conditions.

The Falcon Heavy, which last launched in October 2024, uses three modified versions of the SpaceX Falcon 9 rocket’s first stage, with an upper stage contained in the central booster. The Falcon Heavy features 5.1 million pounds of thrust at liftoff, making it the second most powerful rocket in current use, after NASA’s Space Launch System moon rocket, which boasts 8.8 million pounds of thrust.

The 6.6-ton ViaSat-3 F3 satellite will head to geostationary orbit 22,236 miles over the surface of the Earth. It will provide broadband coverage to ViaSat’s commercial, defense and consumer customers in the Asia-Pacific region.

The Falcon Heavy rocket made its first flight in 2018, and has since launched for 10 missions, including carrying previous ViaSat-3 satellites into orbit.

Dave Abrahamian, ViaSat’s vice president of satellite systems, said the newest satellite is expected to be ready for use faster than the most recent ViaSat-3 satellite, which was carried into orbit by United Launch Alliance’s Atlas 5 rocket.

“Falcon Heavy is a more powerful vehicle than Atlas 5 was, so they can put us in a more favorable transfer orbit for the electric propulsion,” Abrahamian told Spaceflight Now.

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.

April 20 (UPI) — The Federal Aviation Administration grounded Blue Origin‘s New Glenn rocket after it botched the release of a satellite following its successful launch two hours earlier.

The third launch of New Glenn and second landing of its reusable booster stage “Never Tell Me The Odds” on a drone ship in the Atlantic Ocean was a success in those terms, but the spacecraft delivered AST SpaceMobile’s BlueBird 7 satellite to an orbit too low for it to operate properly.

Blue Origin said Monday that it is leading an investigation into one of New Glenn’s engines producing insufficient thrust to reach the mission’s target orbit.

“While we were pleased with the nominal booster recovery, we clearly didn’t deliver the mission our customer wanted, and our team expects,” Blue Origin CEO Dave Limp said in a post on X.

The FAA, NASA, the National Transportation Safety Board and the U.S. Space Force also have been monitoring the situation and will require Blue Origin to complete its investigation and report on the engine anomaly, the Orlando Sentinel reported.

“A return to flight is based on the FAA determining that any system, process or procedure related to the mishap does not affect public safety,” the FAA said in explaining why it grounded the rocket.

The New Glenn-3 rocket launched around 7:30 a.m. EDT on Sunday morning, nailing the flight and landing portion of its mission, and successfully released the BlueBird 7 satellite once it reached orbit.

Because one of the two BE-3U engines that power New Glenn’s upper stage didn’t produce sufficient thrust on its second engine burn, which is meant to boost the spacecraft to its target orbit above Earth, it never got there.

Although the satellite was released and powered on properly, the off-nominal orbit — which was too low for it to be useful — AST said it would be jettisoned.

BlueBird 7 is one of 45 satellites that AST SpaceMobile hopes to get in orbit by the end of 2026 as part of a satellite-based cellular network designed to operate with standard smartphones.

The satellite would have been the companies eighth to reach orbit, and it’s share price Feller by more than 6% on Monday, The BBC reported.

Limp said Blue Origin is analyzing data as it conducts the investigation and is “in steady communication with the team at AST SpaceMobile.”

“We appreciate their partnership, and we’re looking forward to many flights together,” Limp said.

April 19 (UPI) — Blue Origin successfully launched its New Glenn rocket and landed its booster stage, but it delivered a communications satellite into an orbit too low to be useful.

New Glenn-3, the third launch of the company’s rocket, cleared the tower just before 7:30 a.m. EDT on Sunday morning and roughly six minutes later its first stage touched down on the “Jacklyn” drone ship in the Atlantic Ocean.

The fully reusable booster, called “Never Tell Me The Odds,” was making its second landing as the mission hit its second stage engine cutoff, entered orbit and released AST SpaceMobile’s BlueBird 7 satellite successfully.

The release was successful and the satellite powered up properly, but had been placed into “an off-nominal orbit,” Blue Origin said in a post on X.

“During the New Glenn 3 mission, BlueBird 7 was placed into a lower than planned orbit by the upper stage of the launch vehicle,” AST said in a press release.

“While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited,” the company said. “The cost of the satellite is expected to be recovered under the company’s insurance policy.”

AST’s BlueBird 7 satellite is part of a space-based cellular broadband network the company is building that will be accessible using normal smartphones.

The satellite would have been the eighth the company has put in orbit for the network, has satellites number through 32 in production and expects BlueBird 8, BlueBird 9 and BlueBird 10 to be completed in the next month.

AST said that it plans to continue launching satellites roughly every other month for the rest 2026 using “multiple launch providers,” with a goal of 45 satellites in orbit by the end of the year.

Blue Origin, in addition to launching satellites for commercial and government entities, is also building a prototype MK1 “Endurance” lander as a test vehicle in an uncrewed moon landing later this year, Space.com reported.

The prototype is a test run for its MK2 lunar lander that will be used in NASA’s Artemis program to explore the moon and establish a permanent human presence there.

April 17 (UPI) — Nearly one-third of the United States — the northern-most third of the country — could be among areas the National Oceanic and Atmospheric Administration said could see the aurora borealis in the sky.

The northern lights are expected to be most visible, for the second night in a row, across 18 states that fall within the expected viewline this evening, USA Today and Space.com reported.

The solar winds hitting Earth at up to 430 miles per second will cause geomagnetic storms that could be visible as far south in the United States as Illinois and Oregon, according to predictions.

NOAA can most closely forecast the aurora borealis within 30 to 90 minutes of the storm’s location and intensity, but offers maps on its website to help people who would like to see it.

“Aurora can often be observed somewhere on Earth from just after sunset or just before sunrise,” NOAA said in its forecast notes.

The northern lights are an indicator of geomagnetic conditions, NOAA said, and awareness of them matter for a number of essential human technologies, including HF radio communication, GPS satellite navigation and, sometimes, ground-induced currents that affect electric transmission.

The states that are most likely to see the aurora are Alaska, Idaho, Iowa, Illinois, Maine, Michigan, Minnesota, Montana, Nebraska, New Hampshire, New York, North Dakota, Oregon, South Dakota, Vermont, Washington, Wisconsin and Wyoming.

“For many people, the aurora is a beautiful nighttime phenomenon that is worth traveling to arctic regions just to observe,” NOAA said, noting the rarity that it could be visible as far south as it has been forecast.

“It is the only way for most people to actually experience space weather,” the agency said.