The Big Review | Lacma's David Geffen Galleries ★★★★

The Swiss architect Peter Zumthor's new $724 million building for the Los Angeles County Museum of Art (Lacma), now called the David Geffen Galleries, has opened after nearly two decades of anticipation. The swooping concrete-and-glass structure is praised for its harnessing of natural light and horizontality, creating a stunning showcase for antiquities and inviting the city inside with floor-to-ceiling windows offering views of the La Brea Tar Pits and Wilshire Boulevard. The building performs best with sculpture and decorative objects, with standout works including Liz Glynn's "The Futility of Conquest" (2023) and Manjunath Kamath's "Vikatonarva" (2024).

The Wonderful World that Almost Was by Andrew Durbin review – the queer artists who shaped New York cool

Andrew Durbin's new book, 'The Wonderful World that Almost Was,' is a double biography of painter and sculptor Paul Thek and photographer Peter Hujar. It chronicles their artistic maturation, their open and unapologetic gay relationship, and their central role in defining the 'cool' of the New York creative scene from the 1950s to the mid-1970s, before their deaths from AIDS.

Big Crisis, Small Gestures

Große Krise, kleine Gesten

The article reviews the second edition of the Klima Biennale Wien, which opened in early April in Vienna. It notes that while the biennale aims to address the urgent triple crisis of climate change, biodiversity loss, and pollution, its execution falls short. The exhibition features symbolic works such as a beached whale, a broken boat, and a compostable SUV sculpture, but these motifs feel repetitive and lack the necessary impact. The author contrasts these with historical precedents like Menashe Kadishman's 1978 Venice Biennale installation and Joseph Beuys' "7000 Eichen" (1982), arguing that the themes of nature and sustainability are not new, only the urgency has intensified.

Art for Our Age of Chaos

The article reviews two major New York exhibitions opening in 2026: the Whitney Biennial at the Whitney Museum of American Art, featuring over fifty artists, and "New Humans: Memories of the Future" at the newly expanded New Museum, with over a hundred artists. Both shows are described as enormous and defiant, responding to a distracted public and financial pressures. The reviewer notes that both exhibitions juxtapose large-scale immersive works with tiny, intimate pieces, and finds the Whitney Biennial lacking urgency, while preferring the New Museum's historical narrative about technology and modernity.

Review: Getting lost in the art is the best part of LACMA’s new revisionist fever dream of a museum

The Los Angeles County Museum of Art (LACMA) has opened its new David Geffen Galleries, a radical reinvention of the museum experience. The installation, conceived by director Michael Govan and architect Peter Zumthor, abandons traditional chronological and departmental silos, instead creating a continuous, curving flow of art from across time, place, and medium. Visitors are encouraged to wander and get lost, forging their own connections between works.

Patchwork Lost – A Critique of the Princeton University Art Museum’s American Art Wing

The article critiques the newly opened American art wing at the Princeton University Art Museum, arguing that its curatorial approach prioritizes contemporary social justice narratives over historical accuracy and national pride. The author contends that the exhibition presents a fragmented, politicized view of American history, highlighting slavery and racial injustice while omitting or minimizing the contributions of Princeton alumni to the nation's founding, such as James Madison and John Witherspoon. Specific examples include the inclusion of a 2022 revisionist painting of the Signing of the Constitution and selective signage that emphasizes marginalized figures while ignoring male patriots.

Inside LACMA’s Eye-Popping New Home, How Do You Find the Art?

The Los Angeles County Museum of Art (LACMA) has opened its new David Geffen Galleries building, a major architectural project designed to be a glamorous cultural beacon. The building itself is a striking landmark, but the exhibition spaces within present significant challenges for the display of art, creating a complex, maze-like environment for visitors.

The new London museum that looks like a ‘reconstructed Toblerone’

The V&A has opened a new outpost in east London's Lower Lea Valley, a former industrial area transformed into a cultural quarter after the 2012 Olympics. The museum, described as looking like a 'reconstructed Toblerone', is the latest addition to the 'Olympicopolis' vision, which aimed to create a cultural legacy akin to west London's Albertopolis. The article, written by Catherine Slessor in The Guardian, offers a mixed review: praising the beauty and craftsmanship of the galleries while criticizing overuse of trendy phrases like 'lived experience' and 'transcultural identities'.

I wanted to hate the new LACMA. Then I went back

The article describes the author's evolving impression of the newly opened David Geffen wing at the Los Angeles County Museum of Art (LACMA), designed by architect Peter Zumthor. Initially visiting at 11am, the author found the $724 million, 110,000 sq ft building to be a "dismal, dated, inelegant brute," with thick bronze windows, dark concrete slabs, and bunker-like galleries. However, returning at 4pm, the author experienced a transformation: golden afternoon light warmed the concrete, illuminated the interiors, and revealed the building as a "brilliant innovation and true gift to the city." The article details the building's 20-year design evolution, challenges including fossil discoveries on site, and Zumthor's public frustrations with the compromised details.

Salon review – like getting to know fascinating guests at a fabulous party

The article reviews a salon-style exhibition curated by Matthew Higgs, director of New York's White Columns gallery, at an unnamed gallery space. The show features 43 paintings by a diverse group of artists including Denzil Forrester, Andrew Cranston, Kaye Donachie, Merlin James, Margot Bergman, Gillian Carnegie, Bill Lynch, and Adam Keay, arranged around mismatched chairs facing white windows painted on the walls. The reviewer describes moving through the space, engaging with individual works, and highlights the eclectic, unthemed curation that prioritizes personal taste and conversation over academic or political messaging.