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An escalator leads from the entry plaza right up to the top floor, inviting you to enter the building in an unconventional way, preparing you to expect something different. Upon entering, one of the first things you see is a kind of graphic mural lining a large shaft from the top of the tall ceiling dropping below the floor. When looking down and seeing an orange metal platform way below us rising up, we realized with a small shock of revelation that we were looking at an elevator shaft. The glass-doored elevator car is monumental (21 feet tall and wider than tall), and moves through that artwork. (As my friend Kraig remarked, it's almost worth the price of admission to see the elevator.) The galleries on the top floor were generously large, open, and well-lit, and nicely presented an collection of modern sculpture and paintings. (Many of the works themselves are quite sizeable, so it is helpful to have such an ample space to view them in.) Some of them are amusingly whimsical (like the giant blue balloon dog and the giant cracked red egg shell), some are just odd (a bust of Louis XIV in chrome), some are classic (the Warhols and Lichtensteins), and some are just not my thing (like the blank canvas with plain block letters that said something like "There are no ideas in this painting", to which I thought, "clearly true"). The middle floor of the museum is not open yet, and the bottom floor contained a pair of monumental sculptures by Richard Serra called "Band" and "Sequence".
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The BCAM is connected via a promenade to the old Ahmanson Building, creating a new entry plaza. The plaza is graced by an art installation by Chris Burden called "Urban Light", an arrangement of streetlamps placed unusually close together to form colonnades by their repetition and variation. The Ahmanson Building has been reconfigured to facilitate movement between a new west entrance (from the new campus) to the old east entrance (to the Times Courtyard) on a higher floor. The central atrium now has a grand staircase between those two, and the open multi-floor atrium is now dominated by a cool monumental Tony Smith sculpture called "Smoke". One thing I do miss is that where the upper floors used to all open onto the atrium, they are now closed off. But overall, I'm liking the new additions to LACMA.