The First Homosexuals at Wrightwood 659: Rewriting Art History With a Queer Lens

This powerful global exhibition traces the emergence of queer identity through more than 300 artworks — at a time when LGBTQ+ visibility matters more than ever.

Peace 1 by Zhang Huan, 2001

When Wally and I heard about The First Homosexuals: The Birth of a New Identity, 1869–1939 at Wrightwood 659, we were immediately intrigued. We had missed the first iteration, which ran in 2022. This new presentation promised to be larger in scale, and suggested something truly ambitious — a visual journey recontextualizing art history by presenting a wide range of works through a queer lens. 

This exhibition is especially important because it comes at a perilous time when LGBTQ+ voices are increasingly under attack across political and cultural spheres. In the face of bans, restrictions on school curricula, and renewed efforts to limit or erase queer visibility, The First Homosexuals reclaims that space by affirming that queer identity has an enduring, complex and creative legacy. 

““The First Homosexuals” is especially important because it comes at a perilous time when LGBTQ+ voices are increasingly under attack across political and cultural spheres. ”

I was reminded of Masculin/Masculin, a provocative exhibition Wally and I saw at the Musée d’Orsay in 2013. Drawing primarily from European painting and sculpture, the show turned the traditional male gaze on its head — shifting the focus from the female form, so often idealized in art, to the male nude. By presenting works from 1800 to the early aughts, the show invited viewers to reconsider the male body, not just as a symbol of strength or virility but as an object of desire.

While Masculin/Masculin traced the idealization of the male body in European art, it didn’t place those depictions within the broader context of queer history. The First Homosexuals at Wrightwood 659 takes that next step, expanding the lens across five continents and inviting viewers to consider queerness as something shaped by history, society and culture — often coded, but always present. 

The First Homosexuals included more than 300 works by 125 queer artists from 40 countries.

Its point of departure is 1869, when Karl-Maria Kertbeny, an Austrian-Hungarian writer and activist, introduced the term “homosexual” anonymously in a German pamphlet advocating reform of Prussian sodomy laws — a linguistic turning point that shifted same-sex love from act to identity. 

You’ll definitely need to book ahead (and book early) when you see a show at Wrightwood 659.

Our Arrival at Wrightwood 659 in Lincoln Park

After breakfast at one of our favorite spots, the Bourgeois Pig, Wally and I strolled up the leafy stretch of Wrightwood Avenue in Chicago’s Lincoln Park. We were surprised to find a modest four-story red brick façade at 659. But the small group forming outside and a sign promoting the exhibition reassured us that we were in the right place.

The modern concrete building attached to the exhibit space is actually the home of one of the cofounders of Wrightwood 659.

I initially assumed the gallery’s entrance was through the modern concrete cube next door — but that was actually the private residence of media entrepreneur and philanthropist Fred Eychaner and his husband, Danny Leung. Eychaner is the founder of the Alphawood Foundation, a charitable organization, and cofounder of Wrightwood 659.

Inside, a docent greeted us in the light-filled atrium and explained that the building was constructed in the 1920s as an apartment complex. Despite its external appearance, the interiors have been stripped and radically reimagined by Japanese architect Tadao Ando.

A historic apartment building was reimagined as a striking modern art gallery.

Architect Tadao Ando transformed the interior with his minimalist design.

We stood in awe of the space’s understated tranquility. Ando preserved the outer walls, which are clad in irregular, weathered Chicago common brick, an earthy contrast to the interior’s sleek geometric simplicity. 

In the far corner, an Escher-like concrete staircase begins its ascent. More than just a functional connector between levels, it serves as a kind of contemplative path, guiding visitors upward in a calm, deliberate rhythm. It’s a signature Ando gesture: structure becoming experience, architecture becoming journey.

Dance to the Berdash by George Catlin, 1837

Before the Binary: Origins of Queerness

The exhibition unfolds gradually across three floors and eight thematic sections, beginning with “Before the Binary.” This gallery sets the stage for the installation’s sweeping journey, inviting viewers to reconsider how same-sex love and gender diversity have been expressed and celebrated throughout history, long before  queer identity emerged in the form we recognize today.

Prior to the subjugation brought by European colonization, many non-Western cultures regarded same-sex behavior as a fluid part of life rather than a fixed identity. This changed dramatically with the arrival of colonial powers, who introduced prejudices and legal systems and cultural prejudices that criminalized same-sex relationships. Along with this intolerance came a new binary: homosexual and heterosexual — categories rooted in 19th century European science and psychology. These labels spread globally reshaping how people understood desire, identity and themselves.

George Catlin’s painting, Dance to the Berdash, depicts a ceremonial dance performed by the Sac and Fox Nation honoring a “two-spirit” individual. The term berdache, used by Catlin, is an outdated and derogatory French term historically applied to two-spirit people. 

In his journals, Catlin describes the scene as “very funny and amusing,” and expresses bewilderment where a “man dressed in woman’s clothes … driven to the most servile and degrading duties” would be celebrated and “looked upon as medicine and sacred.”

Despite his evident bias, Catlin’s work offers a rare glimpse into the deeply spiritual and cultural roles that two-spirit or third-gender individuals have historically held in many Native American communities.

Portrait of Chevalier d'Eon by Jean Condé, published by John Sewell in a 1791 issue of The European Magazine

The Chevalière or Chevalier d’Éon (1728-1810), was an early gender-nonconforming figure and a French diplomat, spy and soldier. 

In 1755, while presenting as a man, d’Éon was sent to Russia disguised as Mademoiselle Lia de Beaumont to persuade Empress Elizabeth I of Russia to ally with France against England and Prussia. From 1777 onward, d’Eon lived publicly as a woman and was officially recognized as such by King Louis XVI.

In this print, d’Éon is portrayed as a middle-aged woman wearing a dark dress with a chemisette, a lace cap and the star of the Order of St. Louis, an honor awarded for distinguished military service and espionage.

As evidence of the shifting political and cultural landscape of the era, d’Éon spent much of her adult life in London, where her gender identity was the subject of constant speculation. It was even the subject of a court trial declaring d’Éon to be a woman, though a surgeon later attested on her death certificate she had “male organs.”

Anacreon and Cupid by Bertel Thorvaldsen, 1824

Bertel Thorvaldsen’s neoclassical Anacreon and Cupid depicts the Ancient Greek poet Anacreon being struck by Cupid’s arrow, causing the older man to fall in love with the youthful god of love. The relief is inspired by Anacreon’s text, Ode III, which ends with Cupid flying away, satisfied he can still attract love with his arrows, while the poet is left alone with his longing. 

The term homosexual didn’t yet exist, and art about the classical past enabled the representation of same-sex eroticism under the guise of historical reference. 

The artist’s nearby ink and graphite sketch literalizes the erotic element of the sculpture, portraying Cupid fondling the poet’s groin. 

In Ancient Greece, the ideal same-sex relationship was seen as one between an older man and a teenage boy. This kind of relationship was tied to ideas about teaching the younger generation how to be good citizens. Same-sex desire was accepted — but only in ways that supported the male-dominated social system.

Portrait of Rosa Bonheur by Anna Klumpke, 1898

Portraits: Icons and Outlaws

“Portraits” features artists who dared to make homosexuality visible long before it was safe or legal to do so. 

American artist Anna Klumpke’s tender pastel portrait captures her partner, Rosa Bonheur, in the final years of the celebrated French painter’s life. The two met in 1895, when Klumpke was 39 and Bonheur was 73. They soon moved in together, and their relationship endured until Bonheur’s death in 1899.

Rosa Bonheur was one of the most renowned animal painters of the 19th century. An independent woman and openly lesbian, she famously obtained official permission from the Paris police to wear men’s clothing — a permit she justified by explaining that traditional women’s attire was impractical for working in stables and slaughterhouses, where she sketched animals for her work.

By the way, there’s a delightful bar, Rosa Bonheur, in Paris, named after this icon. 

Retrato de un Anticuario (Portrait of an Antiquarian) by Robert Montenegro, 1926

Roberto Montenegro’s 1926 portrait of antiques dealer Chucho Reyes is rich with visual codes that still resonate in queer iconography today — a limp wrist, a tilted chin and a wry smile. In the foreground, a silver ball subtly reflects the artist’s own face, a quiet but unmistakable act of self-insertion and queer affirmation.

An early figure in the Mexican muralist movement, Montenegro often pushed against the boundaries of revolutionary aesthetics. In a mural for the Secretaría de Educación Pública in Mexico City, his depiction of a nude, androgynous Saint Sebastian drew criticism for being out of step with official nationalist values. 

Montenegro was ultimately compelled to repaint it. In his private commissions, however, he enjoyed greater artistic freedom — freedom he fully embraced in this intimate and symbolically coded portrait.

Portrait of James Baldwin by Beauford Delaney, 1944

In this vibrant portrait, Beauford Delaney depicts the 20-year-old African American author James Baldwin before the writer’s rise to literary fame. Delaney renders Baldwin’s face in expressive strokes of green, yellow and purple, capturing not just likeness but inner light. The two men, both openly gay and trailblazing artists of color, shared a profound, formative bond. 

Baldwin regarded Delaney as a mentor and father figure. Reflecting on Delaney’s influence, he wrote, “The reality of his seeing caused me to begin to see.” 

Though Baldwin would become a powerful voice in the civil rights movement, his open sexuality often left him marginalized within the movement’s leadership.

He went on to become one of the most influential gay writers of the 20th century, penning such landmark works as Giovanni’s Room (1956).

Profile of a Man With Hibiscus Flower (Felíx) by Glyn Philpot, 1932 

This intimate portrait features Felíx, a French Caribbean model who sat for the British artist Glyn Philpot several times in 1932. The composition, with its flattened perspective and floral motif, recalls Paul Gauguin’s canvas Jeune Homme à la Fleur, evoking themes of sensuality and exoticism. While the painting echoes colonial-era visual tropes, Philpot’s broader oeuvre is distinguished by its empathetic and often dignified representations of Black subjects, challenging the stereotypes prevalent in early 20th century European art. 

Le Bal élégant, La Danse à la campagne (The Elegant Ball, The Country Dance) by Marie Laurencin, 1913

Relationships: Intimate Worlds

The section titled “Relationships” explores the personal and social dimensions of queer lives. From Marie Laurencin’s sensual and playful female imagery to Andreas Andersen’s portrait of his younger brother and his friend, their works reflect the sheer diversity and joy of queer intimacy. 

La Danse (The Dance) by Marie Laurencin, 1919

Marie Laurencin (1883-1956), a French Cubist, created an idiosyncratic body of work that excluded men and placed women at the center, something truly revolutionary considering that she worked in Paris, in an environment dominated by male artists. A member of Pablo Picasso’s gang, Laurencin’s unique take on Cubism is particularly evident in The Elegant Ball, The Country Dance, a fragmented and angular portrayal of two women dancing front and center. 

The canvas The Dance illustrates Laurencin’s departure from Cubism and marks the development of her own visual language, one that embraces a softer, more fluid style in which women’s bodies seem to merge and dissolve into one another. Laurencin’s dreamlike, ethereal compositions represent a feminist counterpoint to the stylistic tendencies of the male-dominated Cubist avant-garde.

Interior With Hendrik Andersen and John Briggs Potter in Florence by Andreas Anderson, 1894

The Norwegian painter Andreas Andersen depicts his younger brother, Hendrik and their friend, American painter John Briggs Potter, when the trio were living together in Florence in 1894. To our modern eyes, this is a stunning image of a homosexual relationship — but the reality is that men of this era didn’t think that loving or having sex with other men was abnormal or put them into a sexual category. 

Potter, who eventually married a woman, was close to Isabella Stuart Gardner of the eponymous Boston museum. The exact relationship between Hendrik and Potter isn’t known, though Potter was painted by a number of known queer painters and himself painted portraits of handsome men.

Sueño marinero (Sailor’s Dream) by Gregorio Prieto, 1932

Gregorio Prieto was a member of the influential Spanish cohort known as the Generation of ’27, alongside the poet

Federico García Lorca. While his work is well known in Spain, it hasn’t received the recognition it merits. 

Prieto’s two paintings exhibited at Wrightwood exemplify his use of the mannequin as a surrealist trope. Prieto employed mannequins as a metaphor for homoerotic love. Indeed, Sailor’s Dream seems to insinuate the act of oral sex, while Full Moon implies stimulation by hand.

Le Sommeil de Manon (Manon’s Sleep) by Madeleine-Jeanne Lemaire, 1907

Changing Bodies, Changing Definitions: Redefining Beauty 

The exhibit then pivots to “Changing Bodies, Changing Definitions, where we witness how the nude evolved in art in relation to shifting conceptions of sexuality. In the 19th century, artists often depicted ambiguously gendered adolescents — but by the early 20th century, those figures gave way to striking portraits of well-muscled men and women. Romaine Brooks’ androgynous nude of her female lover sits alongside Tamara de Lempika’s muscular female nude. 

The French novelist Marcel Proust and his lover, Reynaldo Hahn, referred to Madeleine-Jeanne Lemaire as Maman, or Mother, acknowledging her centrality to queer relationships and networks. Lemaire hosted a regular salon well attended by homosexuals, including Proust, Hahn and others such as Sarah Bernhardt, whose work is also featured in this exhibition.

The close-knit queer relationships that defined Lemaire’s social circle also come through in her painting. While many of her female contemporaries avoided overt eroticism, Lemaire’s Manon’s Sleep presents a nude figure who is neither orientalized nor classicized, her sensuality left unapologetically unframed by allegory or genre.

The recently discarded clothes in the left-hand corner appear to take the shape of a female figure lounging in a chair, perhaps watching the nude woman sleep. Lemaire’s soft color palette, decadent textiles and languid figure also seem to emulate Rococo aesthetics, perhaps in a nod to the genre’s own scenes of erotic subversion.

Nackte Schiffer (Fischer) und Knaben am grünen Gestade (Naked Boatmen [Fishermen] and Boys on the Green Shore by Ludwig von Hofmann, 1900

Ludwig von Hofmann enjoyed a prominent career as a painter in the late 19th and early 20th centuries. At the time, Germany — newly unified — looked to Ancient Greece as a cultural model, embracing public nudity as a sign of health, virtue and classical refinement. This free body culture (abbreviated as FKK in German) encouraged public nudity as a sign not of prurient interest, but of health and moral virtue.

Segregated from urban homosexual culture by questions of class and occupation, this image of nude boys and men, while undeniably homoerotic, works hard to de-emphasize its inherent suggestive qualities through a committed attention to labor.

Wrestlers by Thomas Eakins, 1899

Thomas Eakins, celebrated along with Winslow Homer as two of the finest 19th century American painters, here produced a study for an even bigger painting of a gymnasium featuring, among other scenes, two young men wrestling.

While depicting an actual wrestling move, the painting allows two men a moment of full-body contact that escapes inscription as homosexual. They are, moreover, curiously relaxed, even inert, in what is ostensibly a battle for dominance.

Nu Assis de Profil (Seated Nude in Profile) by Tamara de Lempicka, 1923

Tamara de Lempicka’s seated nude exists in a space of gender nonconformity, much like the artist herself. The figure’s heavily muscled body and tanned face suggest a masculine presence, perhaps shaped by outdoor labor, while the visible breast and porcelain skin point to a more traditionally feminine traits. The body is angled away from the viewer so as to heighten this sense of indeterminacy.

After moving from Poland to Paris in 1918, Lempicka gained recognition for her Art Deco portraits of glamorous, androgynous figures. Her style and subjects reflect her social circle, which included queer women like the writers Vita Sackville-West and Colette, and her own experiences as an openly bisexual woman.

Venus and Amor by Gerda Wegener, 1920

History: Echoes of Antiquity 

One of the most powerful sections, “History,” features works that portray an idealized classical past as an alibi to depict homoerotic imagery. Hans Von Marées’ Five Men in a Landscape feels suspended in a timeless queer utopia, while Rupert Bunny’s muscular Hercules takes on both dragons and sexual subtext. 

Venus and Amor is Gerda Wegener’s vision of lesbian Arcadia. In her uniquely Art Deco style, Wegener depicts a garden populated by the Three Graces, Cupid and Venus, the latter helping Cupid draw his bow. Cupid is represented as distinctly nonbinary, with rosy cheeks and nascent breasts. Like the figure of Puck in Shakespeare’s A Midsummer Night’s Dream, Wegener seems to suggest Cupid’s mischievous nature is connected to his gender transgression. 

When this canvas was completed, Wegener was so popular in France that the government bought three of her works for the Louvre, which are now in the Centre Pompidou collections. 

Sadly, she spent her later years in poverty and died in 1940, shortly after Nazi Germany invaded Denmark.

The Joy of Effort by Robert Tait McKenzie, 1912

Robert Tait McKenzie was a Canadian physician, educator, athlete and sculptor who became director of athletics at the University of Pennsylvania. He donated hundreds of bronze homoerotic images of athletic young men to UPenn, where many are still on display. 

He was a key figure in sports medicine and rehabilitative medicine, designing prosthetics for wounded soldiers. He extolled the value of exercise early, especially for those who worked primarily with their minds. Despite the undeniable homoeroticism in his work, he was married, as the norms of his time dictated.

Cumulonimbus by Kotaro Nagahara, 1909

Kotaro Nagahara (1864-1930) was one of the early innovators of yōga, or Western-style painting, in late 19th-century Japan. The relatively conservative style of his male nudes (note the lack of visible genitals) may reflect the impact of the “nude debate” (ratai ronso) in Japanese art circles in the 1890s. The influence of Western nude painting fueled an intense debate among Japanese artists about the nature of propriety and indecency, and some yoga painters like Kuroda Seiki caused controversy for displaying nude paintings to the public. In this cultural atmosphere, it’s not surprising that Nagahara took a more discreet approach here in obscuring the figure’s genitalia.

Slaves by Gabriel Morcillo, 1926

Colonialism and Resistance: Imported Shame, Native Pride

But art is never just about aesthetics. In “Colonialism and Resistance,” the exhibition explains how Western imperialism often coded queerness as foreign or degenerate, while simultaneously fetishizing it. A pernicious side effect of colonialism was that Western suppressive ideologies on homosexuality were imposed on conquered lands — many of which went from respecting same-sex relations to writing homophobic laws into their legal codes. 

Gabriel Morcillo’s painting Slaves is a striking example of how Orientalist aesthetics were often used to veil overt homoeroticism. Like many artists of his era, Morcillo employed the exoticized imagery of the so-called “East” to explore themes of male beauty and sensuality, subjects that were daring and even dangerous to depict in the 1920s and early ’30s. He later experienced both the favor and the fallout  of political affiliation: Between 1950 and 1955, he was commissioned by dictator Francisco Franco to paint several portraits, both standing and on horseback. With the arrival of Spain’s democratic Transition, Morcillo was classified as a Francoist, and his work largely vanished from art history books, despite its considerable artistic merit.

L’après-midi (In the Afternoon) by David Paynter, 1935

David Paynter’s In the Afternoon offers a rare and quietly radical vision of male intimacy in early 20th century South Asian art. Born in 1900 in Sri Lanka (then Ceylon), Paynter was known for merging Western classical techniques with South Asian subjects, often weaving subtle references to same-sex desire into his work.

In this painting, two young men share an intimate gaze, one delicately holding a flower — echoing the sensuality of Gauguin’s Polynesian women but recast through a defiantly queer lens. The image stands in quiet resistance to colonial-era moral codes that had, by that time, already begun to reshape attitudes toward sexuality across South Asia.

Before the British imposed Section 377 of the Indian Penal Code in 1861 — which criminalized “carnal intercourse against the order of nature” — many Asian cultures held more fluid and nuanced understandings of gender and sexuality. Paynter’s work gestures toward that precolonial cultural memory, reclaiming tenderness between men as both natural and beautiful.

La Danza (Dance) by Elisàr von Kupffer, 1918

Beyond the Binary: Gender, Reimagined

Finally, “Beyond the Binary” delivers what may be the show’s most revelatory section. Featuring more than 60 works, it draws direct connections between early queer and trans identities. 

Among the highlights is one of the first self-consciously trans representations in art: Gerda Wegener’s 1929 portrait of her spouse Lili Elbe. 

This section also includes paintings from the Elisarion, a utopian queer villa in Switzerland. One of these images is believed to depict the first same-sex wedding scene in art history.

Elisàr von Kupfer, who preferred to be called Elisarion, founded a spiritual movement he named Clarism, which rejected the gender binary as a perversion of divine will. Proud of his own feminine physical features, von Kupfer adorned his temple in Minusio, Switzerland, with paintings of similarly androgynous and nonbinary figures. While von Kupffer was a pioneer in challenging gender and sexual norms, he was also a white supremacist, and his work was influenced by Aryanism. He sought to engage Adolf Hitler in correspondence, though there is no evidence that the dictator ever replied. 

In von Kupffer’s utopia, gender was fluid and inclusive — but race, clearly, was not. His example shows how radical views in one realm did not necessarily extend to others.

Untitled (kuchi-e [frontispiece] with artist’s seal Shisen) by Tomioka Eisen, 1895

This image was made as an illustration for the novel Sute obuna, an adaptation of the mystery novel Diavola (1885) by the British author Mary Braddon. From the 1880s onward, many European mystery stories were translated into Japanese and adapted to Japanese contexts. This could have the effect of producing unique and humorous juxtapositions between the Japanese characters and their Western mannerisms, as seen in this moment of unexpected male intimacy. Tomioka Eisen was a prolific illustrator during the Meiji Period, trained in ukiyo-e methods. He also produced a small number of erotic works, which were circulated privately.

Lili med fjerkos (Lili With a Feathered Fan) by Gerda Wegener, 1920

Lili With a Feathered Fan by Gerda Wegener depicts her husband, Einar Wegener (who later became Lili Elbe), holding a green feather fan. The painting is significant as an early example of transgender representation in art, created during a period when Lili was beginning to express her gender identity more openly. 

Lili first emerged in 1904 when Gerda asked Einat to pose in women’s clothing after one of her female models failed to show up. This moment marked the beginning of a public and private transformation. In the early ’20s, Lili began living more fully as a woman, and in 1930 she underwent one of the first known gender-affirming surgeries. 

Their relationship inspired the 2015 film The Danish Girl. Tragically, Lili died in 1931 from complications following the final stages of her surgeries. 

Peter (A Young English Girl) by Romaine Brooks, 1923

Romaine Brooks’ work from this period captures early 20th century lesbian life, with portraits of friends, lovers and fixtures of the queer world she inhabited. Here, Brooks depicts the nonbinary British artist known as Gluck, who also went by the name Peter. Gluck insisted on being addressed as “Gluck, no prefix, suffix or quotes” — rejecting any gendered association with their identity.

Amazing architecture, powerful art, dedicated docents and a relaxed, uncrowded flow make Wrightwood 659 well worth a visit.

Wrightwood 659 Does It Right 

Wrightwood 659 intentionally limits the number of visitors and requires timed-entry tickets purchased in advance. This keeps exhibitions intimate and uncrowded, allowing visitors to reflect deeply without distraction.

The First Homosexuals brings together more than 300 works by 125 queer artists from 40 countries, drawn from over 100 museums and private collections around the globe. Each loaned piece contributes to a sweeping, multifaceted narrative of queer identity, resilience and creativity. 

A quiet nook with a view at Wrightwood 659

Wally and I were struck not only by the scale of the exhibition, but by the obvious care with which it was assembled. Every element — from the curation of individual works to the flow of the galleries — felt deeply considered, designed to honor the artists, their histories and the communities they reflect.

We had the added privilege of visiting on a day when docents were present, enriching the experience with personal reflections and deeper context about the artists and their work. Their stories added an intimate, human layer to an already powerful presentation. –Duke

Wrightwood 659

West Wrightwood Avenue
Chicago, Illinois 
USA 

 

Arizona’s Most Unexpected Museums, Collections and Curiosities You Never Knew You Needed

From Phoenix to Flagstaff and Tucson, Arizona’s quirkiest museums celebrate the strange, the surprising and the downright delightful — including castles, miniatures and a spaceship you can sleep in.

Space Age Restaurant

Arizona is full of surprises. Beyond the epic landscapes of the Grand Canyon and the saguaro cacti standing tall under desert skies, the state is hiding treasures of a much quirkier variety. Tucked into small towns and side streets are museums that challenge convention, redefine curiosity and embrace the downright odd. 

From tiny worlds that feel magically alive to reptilian tributes and intergalactic roadside stops, these spots don’t just entertain — they leave you marveling at the sheer weirdness and wonder of it all.

And for those travelers tracking both road miles and game day scores, Arizona sportsbooks offer a modern way to stay connected to the action — even while exploring copper cookware collections or UFO-themed motels.

The Mini Time Machine Museum of Miniatures

Tucson’s Mini Time Machine Museum of Miniatures is a marvel of detail and nostalgia, welcoming visitors into a labyrinth of over 500 tiny scenes that span genres, time periods and fantastical dimensions. Inside, entire Victorian parlors are re-created on a scale that fits in your palm. 

You’ll wander past whimsical fairytale dioramas, snowy holiday villages, pirate coves and medieval castles so intricately constructed you might mistake them for real historical ruins, if not for their size.

Every room in the museum becomes a portal: One minute you’re peeking into a perfectly replicated 18th century salon; the next you’re gazing at a futuristic cityscape with hover cars no bigger than buttons. 

Whether you’re a seasoned collector or a wide-eyed child, it’s impossible not to leave without a new appreciation for craftsmanship at its smallest scale. And somewhere between the dollhouse graveyards and tiny saloons, grownups find themselves grinning like they’re 6 again.

The Mini Time Machine Museum of Miniatures

Phone: 520-881-0606


4455 East Camp Lowell Drive
Tucson, AZ 85712


Arizona Copper Art Museum

Clarkdale’s Arizona Copper Art Museum celebrates the state’s mining legacy. The sprawling collection features pieces ranging from medieval copper armor and royal cookware to champagne buckets, fireman’s nozzles and intricate decorative tiles. What ties them all together is copper — glinting under soft museum lights, speaking to both history and metallurgy.

Exhibits are curated in ways that surprise and delight. One hallway presents antique kitchen wares gleaming like modern art. Another showcases battlefield gear worn by knights, side-by-side with World War-era artillery shells. It’s a reminder that this reddish metal didn’t just fuel Arizona’s economy — it shaped global culture, war, art and survival.

Every gleam and shimmer is an invitation to reflect on how something so industrial could also be so beautiful.

Arizona Copper Art Museum

Phone: 928-649-1858

849 Main Street
Clarkdale, AZ 86324

Best Western Space Age Lodge 

Out in Gila Bend, just off I-8, rises one of Arizona’s most delightfully kitschy landmarks: the Best Western Space Age Lodge. With its retro-futuristic design, spaceship signage and UFO murals, it’s part motel, part time capsule — and all in on the space theme.

Originally opened in the 1960s during the height of the Space Race, the lodge has leaned into its Jetsons-style charm ever since. The rooms are named after celestial bodies, the onsite Space Age Restaurant serves comfort food under a flying saucer ceiling, and the whole place lights up at night like a sci-fi movie set that never quite made it to Hollywood.

You’ll get an affordable stay with a side of pure Americana that’s out of this world. It’s not Area 51 — but it’s arguably the next best thing if you’re cruising through the Arizona desert and want a photo op with an alien.

Best Western Space Age Lodge 

Phone: 928-683-2273

401 East Pima Street
Gila Bend, AZ 85337

The Museum of Indigenous People

The former Smoki Museum in Prescott is both a tribute and a reckoning. Originally founded by a group of White locals who imitated Native American ceremonies, the museum has since undergone a profound transformation. Today, it works to honor and accurately represent indigenous cultures, particularly those from the Southwest.

Artifacts include baskets, jewelry and ceremonial dress — displayed with proper context and respect. Educational panels address the museum’s problematic origins head-on, encouraging visitors to reflect on cultural appropriation, reconciliation and responsibility. It’s one of Arizona’s most thought-provoking and evolving cultural centers.

The Museum of Indigenous People

Phone: 928-445-1230

147 North Arizona Avenue
Prescott, AZ 86301

The Tombstone Epitaph Newspaper and Museum

In Tombstone — the town too tough to die — you’ll find the Epitaph museum, chronicling one of the most famous newspapers of the Old West. This isn’t just a collection of dusty front pages. It’s a walk through Arizona’s journalistic grit, with stories of gunfights, outlaws and frontier justice printed with inky pride.

You can see the original press, learn about the life and times of editor John Clum, and even buy reprints of iconic headlines, including coverage of the legendary O.K. Corral shootout. It’s a slice of media history served with a shot of whiskey-flavored nostalgia.

The Tombstone Epitaph Newspaper and Museum

Phone: 520-457-2211

11 South 5th Street
Tombstone, AZ 85638

Museum of Northern Arizona

The Museum of Northern Arizona sits at the edge of the San Francisco Peaks, offering a blend of anthropology, biology and indigenous heritage. From ancient Hopi pottery to fossils of Triassic creatures, the exhibits build a timeline that connects people and planet in an unforgettable arc.

Highlights include breathtaking Navajo textiles, intricate Zuni carvings, and live geology demonstrations that reveal how this rugged terrain came to be. For travelers looking to balance their oddball adventures with a dose of scholarly wonder, this stop in Flagstaff is a must.

Museum of Northern Arizona

Phone: 928-774-5213

3101 North Fort Valley Road
Flagstaff, AZ 86001

San Carlos Apache Cultural Museum

The Apache Cultural Museum provides an intimate, deeply personal look at this indigenous band’s history and heritage. Unlike larger institutions, it’s run by local Apache people, and that authenticity pulses through every artifact and story.

Weapons, cradleboards, beadwork and historical photos line the walls. But it’s the oral histories — passed from elder to youth — that give the space its heartbeat. Visitors leave not just with facts, but with faces and names, and a deeper respect for what it means to carry cultural identity through centuries of struggle and survival.

San Carlos Apache Cultural Museum

Phone: 928-475-2894

Mile Marker 272
Highway 70
Peridot, AZ 85542

Tovrea Castle at Carraro Heights

Tovrea Castle looms over Phoenix like a three-tiered cake sculpted by whimsy and desert dreams. Built in the 1930s by Italian immigrant Alessio Carraro, the structure was intended as a hotel but quickly became a curiosity. Surrounded by 44 acres of cactus gardens, it looks like something out of a surrealist Western film.

Tours are available by reservation only, adding to its air of exclusivity and mystery. Inside, guests get a look at vintage furnishings and learn the strange history of the Carraro family’s ambitions — and how this castle became one of Arizona’s most iconic roadside silhouettes.

Tovrea Castle at Carraro Heights

Phone: 602-256-3221

5025 East Van Buren Street
Phoenix, AZ 85008

From Jim Roark’s Metal Monsters exhibit at the Museum of Miniatures

Arizona’s Weird Is Wonderful

Arizona doesn’t hide its oddities. It flaunts them. Each museum, collection or offbeat roadside stop is a love letter to curiosity, eccentricity and stories that don’t fit into mainstream museum walls. Whether you’re marveling at miniature furniture, learning about indigenous customs, or debating alien contact with a man in a tinfoil hat, you’re taking part in a state-sized celebration of the unexpected.

So load up the car, keep your eyes peeled for copper armor and friendly E.T.s, and embrace the wild, weird wonder that’s Arizona’s museum scene.

The Isabella Stewart Gardner Museum: A Breathtaking Artistic Oasis in Boston

A Venetian-style palazzo — the scene of an infamous unsolved art heist — houses eclectic art and lush seasonal gardens. 

The courtyard of the Isabella Stewart Gardner Museum was designed to evoke the ambiance of a 15th century Venetian palace.

I was flicking through Instagram (something I do way too often), and my finger stopped mid-scroll on a stunning palazzo. “Italy?” I thought. “Maybe India?” 

Nope. It was the Isabella Stewart Gardner Museum — in Boston, of all places.

Boston?! I’d be there the next day for work. It felt like fate.

“Isabella Stewart Gardner’s will specified that nothing could be moved, ensuring her vision stayed exactly as she intended.”

Gorgeous tilework in the Spanish Cloister — nearly 2,000 tiles from 17th century Mexico, that is

The Isabella Stewart Gardner Museum: A Hidden Gem in the Heart of Boston

Boston has its usual suspects when it comes to tourist spots: Fenway Park, the Freedom Trail, Faneuil Hall. But have you heard of the Isabella Stewart Gardner Museum?

It’s not usually the first stop on a Boston itinerary, but it absolutely should be. Tucked into the city’s Fenway neighborhood, this museum feels like a secret treasure waiting to be discovered. And, believe me, it’s worth it — from its jaw-dropping architecture to its captivating art (and even its unsolved mystery).

The Veronese Room is named for the grand painting on its ceiling, The Coronation of Hebe, attributed to Paolo Veronese and his studio, painted in the 1580s.

The Tapestry Room features 10 Flemish tapestries.

Isabella Stewart Gardner was a rule-breaker, a collector and someone who knew how to make an impression.

Take her grand parties: She once attended a symphony in a white headband that simply said, “Oh, you Red Sox” in bold letters. She was as bold as her taste, building her museum as a Venetian-style palazzo (originally called Fenway Court) right in Boston and filling it with treasures from around the world.

“Years ago I decided that the greatest need in our country was art,” she once said. “So, I determined to make it my life’s work if I could.” 

Mission accomplished. 

In the Chinese Loggia, Stewart Gardner placed a statue of the Madonna and child opposite a Buddhist stele to spark contemplation about shared spiritual themes.

Walking through the museum feels like wandering through the home of someone fabulously wealthy and wildly eclectic. You’ll spot everything from a Rembrandt self-portrait to Japanese lacquered boxes, all lovingly placed as Isabella herself arranged them over a century ago.

A Roman mosaic floor featuring the head of Medusa that was crafted between 117 and 138 CE takes center stage in the courtyard.

The Infamous Art Heist: Mystery in 81 Minutes

The Gardner Museum holds the title for the greatest unsolved art heist in history. The story is something straight out of Hollywood.

It all began in the early hours of March 18, 1990. Two men dressed as Boston police officers buzzed at the museum’s doors, claiming they were responding to a disturbance. The night guards, unsuspecting, let them in.

Big mistake.

“The Gardner Museum holds the title for the greatest unsolved art heist in history.

On March 18, 1990, two men dressed as Boston police officers strolled out of the museum with over $500 million worth of art.”

The “officers” handcuffed the guards, duct-taped their mouths, and left them in the basement. Over the next 81 minutes, they raided the galleries, carefully cutting 13 priceless works from their frames. They strolled out with art worth over $500 million, including:

• Rembrandt’s Storm on the Sea of Galilee (his only seascape)

• Vermeer’s The Concert, valued at $250 million

• Manet’s Chez Tortoni

• A Chinese gu (ancient ceremonial vessel)

• A bronze eagle finial from a Napoleonic flag

When the guards were finally freed, the thieves — and the art — were long gone.

To this day, the empty frames hang in their original spots as a silent reminder of the loss. The museum still offers a $10 million reward for information, but the case remains cold.

Intrigued? Check out the Netflix docuseries This Is a Robbery, which dives deep into the mystery of the stolen masterpieces.

A portrait of Isabella Stewart Gardner by John Singer Sargeant depicts the remarkable woman as a pagan goddess.

Isabella Stewart Gardner: The Original It Girl

Born in 1840, Isabella wasn’t your typical socialite. After her son Jackie died young, followed by miscarriage in her 20s, she fell into depression — until her doctor prescribed travel. That single recommendation changed her life.

Isabella and her husband, Jack, explored the world, visiting Egypt, Italy and Japan. Along the way, she discovered a passion for art, collecting everything from tapestries to ancient manuscripts.

Back in Boston, she became known for her unconventional style. She defied the strict social norms of the time, pairing pearls with turbans at baseball games and opening her home to artists, writers and musicians.

The Blue Room at the Isabella Stewart Gardner Museum offers an intimate glimpse into Isabella’s personal world, showcasing her close connections with contemporary artists and intellectuals.

A lion attacking a man forms the base of a column in the North Cloister, from 12th century Tuscany.

The works in the Tapestry Room came from Brussels, Belgium and were created in the mid-16th century.

Her museum was her life’s crowning achievement, built in 1903 to house her collection and inspire the public. Even in death, she had the last word: Her will specified that nothing could be moved, ensuring her vision stayed exactly as she intended.

A view of the modern wing

The Museum Today: Tradition Meets Modernity

In 2012, the museum unveiled its sleek new Renzo Piano-designed wing, adding modern flair while preserving Isabella’s original palazzo. The various rooms include: the Dutch Room, Rafael Room, Tapestry Room, Titian Room, Veronese Room and Gothic Room. 

Wandering from room to room feels less like visiting a museum and more like stepping into Isabella’s home — because, in a way, you are. Each space is curated exactly as she intended, as if she’s just stepped out, leaving you to explore her private collection of treasures from around the world.

The new space hosts concerts, lectures and temporary exhibits, creating a dynamic blend of old and new.

The courtyard itself might be the most beautiful work of art here. This statue is believed to represent Persephone, the goddess of spring who became queen of the underworld.

And while the art is breathtaking, don’t overlook the ever-changing courtyard. Seasonal displays like orchids, hydrangeas and chrysanthemums transform the space into a living masterpiece.

Grab a bite at Café G in the new wing of the museum.

Café G

Upon arriving at the Isabella Stewart Gardner Museum, I was famished and made a beeline for Café G, the museum’s onsite eatery. The sleek, glass-enclosed space was designed by Renzo Piano, offering serene views of the surrounding gardens — a tranquil setting to relax before delving into the museum’s treasures.

The menu features dishes that highlight seasonal, local and organic ingredients. 

The Raphael Room features Italian Renaissance art.

A Museum Like No Other  

Whether you’re an art lover, a history buff or just someone looking for a little magic in Boston, the Isabella Stewart Gardner Museum is a must-see. It’s a time capsule, a mystery and a testament to one woman’s indomitable spirit. –Wally

At the end of the Long Gallery in the Chapel hangs a High Gothic stained glass window titled Scenes From the Lives of Saint Nicasius and Saint Eutropia, crafted around 1205 for the Soissons Cathedral in France.

The Deets: Plan Your Visit

Hours:

• Wednesday to Monday: 11 a.m. to 5 p.m. 

• Thursdays: 11 a.m. to 9 p.m. 

• Closed: Tuesdays, Thanksgiving, Christmas and New Year’s Day

Admission:

• Adults: $20

• Seniors (65+): $18

• Students with ID: $13

• Free: Members, children under 18, and anyone named Isabella (yes, really!)

Isabella Stewart Gardner Museum

25 Evans Way
Boston, Massachusetts
USA

Chapultepec Castle’s National History Museum in Mexico City

Perched atop the Hill of the Grasshopper, Chapultepec Castle is the only royal residence in North America. From its imperial past to the revolutionary murals inside, here’s why this must-visit landmark in Chapultepec Park is worth the climb.

Alegoría de la Revolución (Allegory of the Revolution) by Eduardo Solares Gutiérrez, 1933

They say the third time’s a charm, and on our latest (and yes, third) trip to Mexico City, Wally and I finally made it to the Castillo de Chapultepec (Chapultepec Castle). 

Perched atop the summit of Cerro del Chapulín (Hill of the Grasshopper) in the first section of the vast Bosque de Chapultepec (Chapultepec Forest), this historic site and local landmark is the only castle in North America to have served as a royal residence. It was home to Emperor Maximilian I and Empress Charlotte, the ill-fated rulers of the short-lived Second Mexican Empire — but more on that later. 

“Perched atop the summit of the Hill of the Grasshopper, this historic site is the only castle in North America to have served as a royal residence. ”

Chapultepec itself is one of the oldest and largest public parks in Latin America. Dating back to the pre-Hispanic era and officially designated as a public space in the 16th century, the park underwent major renovations in 1910 to commemorate Mexico’s independence centennial. Today, it spans approximately 2,100 acres — more than twice the size of New York City’s Central Park, one of the largest urban parks in the world. 

Detail of the right half of the mural La Dictadura y La Represión (Dictatorship and Repression) by Juan O'Gorman — a visual commentary on the transgressions of President Díaz

On our previous visit, we spent hours exploring the first floor of the incredible Museo Nacional de Antropología (National Museum of Anthropology), captivated by its collection of pre-Hispanic artifacts from civilizations like the Aztecs and Maya. 

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MORE: Explore the Museum of Anthropology’s collections on Animal Pottery and Death Cults of Ancient Mexico

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The park is divided into four sections, from historic landmarks to vast green spaces. It’s home to nine major museums covering a wide range of subjects, along with monuments, gardens and countless other fascinating sights. And so far, we’ve barely scratched the surface of Section One. 

Its name comes from the Nahuatl word chapoltepēc, meaning “Hill of the Grasshopper.” But why a grasshopper? The area may have once been full of them, but in Mesoamerican cultures, the insect also symbolized prosperity and good fortune. 

Sarao en un jardin de Chapultepec (Festive Gathering in a Garden at Chapultepec) is a handpainted biombo, or folding screen, from around 1780-1790. It depicts a sarao, a lively social gathering featuring music and dancing that played a key role in courtly and aristocratic life.

Visiting Chapultepec Castle

For this trip, we once again stayed in Colonia Condesa, a charming neighborhood that borders Chapultepec. After breakfast, we set off toward the castle, and about 25 minutes later, we were following one of the pathways leading into the park. Since it was still early morning, the vendors were just beginning to set up. 

Wally and I stopped by the Old Guard House, a brick building situated at the base of the hill, to verify our tickets with an attendant, which Wally had purchased online the night before. 

You’ll know you’ve arrived at the right place when you see the Old Guard House, located at the base of the entrance leading to Chapultepec Castle.

Note: If you’re carrying bottled water or snacks like we were, be sure to pay for a locker as well. We didn’t realize that food and drink were prohibited inside the castle grounds — and were told at the security checkpoint that we needed to finish or rent a locker to store them.

The morning we visited, we got the full experience — a busload of kids arrived at the same time we did, their chaperones struggling to keep them from running and yelling as they excitedly scattered across the path ahead of us. Fortunately, we managed to get ahead of the group and for the most part avoided them once we reached the top. 

We hurried past the schoolchildren walking up the hill — and mostly avoided them while exploring the castle.

As we continued our ascent to the top, where the castle is located, we passed a bronze statue of José María Morelos y Pavón, created by Spanish sculptor Ángel Tarrach. Morelos, a Catholic priest and revolutionary leader during Mexico’s War of Independence, was ultimately captured by the Spanish army, tried by the Inquisition, and executed by firing squad for treason. Despite his fate, he’s remembered as a champion of the people — a brilliant military strategist and a tireless advocate for a more just society. 

A bronze statue of José María Morelos y Pavón, a priest and revolutionary leader, by Ángel Tarrac

Since there’s nowhere to buy tickets at the top of the hill, it’s essential to get them online or at the guard house before making the climb. The security checkpoint at the base of the hill won’t ask for them, but the attendants at the castle gate will. If you forget, you’ll have to trek all the way back down — and trust me, that steep uphill climb is tough enough the first time, especially if you’re still acclimating to Mexico City’s altitude. After all, Chapultepec Castle is located at a height of 7,628 feet (2,325 meters) above sea level. 

Two structures stand atop the Hill of the Grasshopper: to the east, Chapultepec Castle — also known as the Alcázar (Royal Palace) — and to the west, the Museo Nacional de Historia (National Museum of History). Housed in the same building that once served as the military academy, the museum explores nearly 500 years of Mexico’s complex history that are displayed chronologically from the 15th to the 21st century. 

Fun fact: The castle exterior was used as the Capulet mansion in Baz Luhrmann’s Romeo + Juliet from 1996, starring Leonardo DiCaprio and Claire Danes. 

The façade of the castle that houses the National History Museum

A Brief History of Chapultepec Castle

Construction of what would become the castillo began in 1785 during the Spanish colonial period. Originally intended as a retreat for Spanish officials, the project was closely associated with Bernardo de Gálvez, the viceroy of New Spain, who governed the territory on behalf of the Spanish crown from 1785 to 1786. 

Before his term as viceroy, Gálvez served as the governor of Spanish Louisiana, where he played a pivotal role in the American Revolution. He led military campaigns that supported General George Washington’s troops, capturing Pensacola, the capital of British West Florida, and effectively removing British influence from the region. His legacy lives on in the place names such as Galveston, Texas, and Galvez Street in New Orleans, Louisiana.

Unfortunately, Gálvez’s service was brief. Before  he could complete the project, he died from yellow fever — known in Mexico as vomito negro because internal bleeding turned the victim’s vomit black. The estate went unfinished. By 1806, the municipal government had taken ownership of the structures, and in 1833, they were converted into the Colegio Militar, a military academy that trained young officers for the Mexican Army.

Today, the grounds are remembered as the site of the Battle of Chapultepec, a pivotal conflict of the Mexican-American War fought on September 12 and 13, 1847. The U.S. was victorious, capturing Chapultepec Castle and paving the way for the fall of Mexico City. 

It was here that six young cadets, ages 13 to 19 — known as Los Niños Héroes (The Boy Heroes) — lost their lives defending the military academy against American forces in one of the war’s final battles.

The war officially ended in 1848 with the Treaty of Guadalupe Hidalgo, a humiliating agreement that forced Mexico to cede over half its territory to the United States. 

Vista de la Plaza Mayor de la Ciudad de México (View of the Zócalo of Mexico City) by Cristóbal de Villapando, 1695

Exploring the National History Museum 

As Wally and I stepped through the entrance of the museum, we were awestruck by the double staircase that rose before us. Covering the domed ceiling high above is La Intervención Norteamericana (The North American Intervention), a mural by Gabriel Flores. It depicts Juan Escutia, one of the six Niños Héroes who died defending the academy from invading U.S. forces. According to legend, Escutia leapt to his death from the academy, plunging over the steep rock face of the Hill of the Grasshopper, wrapped in the Mexican flag to prevent it and himself from falling into enemy hands.

The front staircase features the mural Alegoría de la Revolución (Allegory of the Revolution) by Eduardo Solares from 1934.

There’s another large-scale mural on the staircase, Alegoría de la Revolución (Allegory of the Revolution) painted by Eduardo Solares. This powerful piece depicts a moment from the revolution that overthrew the dictatorial regime of Porfirio Díaz. 

Cute décor idea: a tzompantli — a rack used by the Aztecs to display the skewered skulls of human sacrifices and prisoners of war

The Conquest of the Americas

We passed display cases featuring armor worn by the conquistadors and their horses, along with a small 16th century wooden sculpture of the Virgin of Valvanera. According to legend, this likeness is a “true portrait” of the Virgin Mary, carved by Saint Luke and brought to Spain by the disciples of Saint Peter.

Sacrificio de Españoles por Mexicas (Sacrifice of Spaniards by Mexicas) by Adrian Unzeta, 1898

While these were fascinating, the installation that stopped us in our tracks was a tzompantli — a rack used by the Aztecs to display the skewered skulls of human sacrifices and prisoners of war. Discovered in 1994 at Tecoaque, an archaeological site in central Mexico whose name translates to “the Place Where They Ate Them” in Nahuatl, this tzompantli is believed to have been built by the Acolhua, allies of the Aztecs. It held the skulls of a defeated Spanish-led convoy captured in 1520 — comprising conquistadors and their indigenous allies, who were ritually sacrificed and quite possibly eaten. 

This image, #1 De Español y Indio, Mestizo o Cholo (From Spaniard and Indian, Mestizo or Cholo), depicts the highest-class of the caste hierarchy imposed by the Spanish colonists.

The depiction of the lowest caste in #16 De Coyote, Mestizo y Mulata: Ahí te estás (From Coyote, Mestizo and Mulatto: There You Are) reflects the prejudices of the Spanish invaders.

The Pecking Order of New Spain

In a nearby room, a series of 18th century casta (caste) paintings hung on the wall. 

These 16 scenes depicted the colonial social hierarchy of New Spain, a system imposed by the Spanish government to classify individuals based on ancestry and racial mixing. At the top were Spaniards, both those born in Spain (peninsulares) and those born in the Americas (criollos). Below them were mestizos, people of mixed Spanish and indigenous heritage, and other mixed-race groups, followed by indigenous people and those of African descent. Though rigid in theory, this system allowed some social mobility through wealth,  marriage or official status changes. 

Juan O'Gorman was invited by Antonio Arriaga Ochoa, the director of the National Museum of History, to complete the project that had initially been commissioned by his friend, Diego Rivera, who had died three years earlier in 1957.

The STRUGGLE WAS REAL: MEXICO’S WAR of INDEPENDENCE

The Salón de Independencia (Hall of Independence) features the Retablo de la Independencia (Independence Altarpiece), a monumental mural painted by architect and muralist Juan O’Gorman between 1960 and 1961.  

The mural is divided into four sections, each representing a different stage of the Mexican independence movement. At the center stands the white-haired figure of Miguel Hidalgo y Costilla, dressed in clerical robes and brandishing a torch in his left hand. During Mexico's fight for independence, he took a banner depicting the Virgin of Guadalupe from the Sanctuary of Jesús Nazareno de Atotonilco, using it as the flag for his insurgent army. Look for the flag in the case below the mural. Hidalgo’s call to arms, known as the Grito de Dolores (Cry of Dolores), ignited the fight against Spanish colonial rule.

Nearby, José María Morelos is depicted gripping a sword, with a white bandana tied around his head. Morelos was a key leader in the movement, organizing insurgent forces to abolish slavery and the casta system.

Among other figures, Josefa Ortiz de Domínguez appears wearing a green dress and a purple rebozo (shawl), seated on a white horse and surrounded by indigenous victims of exploitation, hunger and death.

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MORE: The Controversial Murals at the Palacio de Bellas Arte

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The western terrace, or Patio de Juan de la Barrera, was named in honor of one of the young Mexican cadets who died during the Battle of Chapultepec fighting in the Mexican-American War.

Pergola Terrace, or Patio de Juan Barradas

Wally and I stepped out of the building and into the sunlight-drenched western terrace. A gurgling fountain stood before us and an expansive pergola stretched out to the right, offering shade and views of the park’s artificial lake and city beyond. 

At the back of the garden stands La Madre Patria, Agradecida a sus Hijos Caídos (The Motherland, Grateful to Its Fallen Children), a classical monument commemorating the Niños Héroes. Designed by architect Luis MacGregor Cevallos and sculpted by French-trained Mexican artist Ignacio Asúnsolo, it was inaugurated in 1924.

Asúnsolo finished the monument to the Niños Héroes in a mere three months, fulfilling President Álvaro Obregón’s request to have it completed and inaugurated before the end of his term.

The top of the pylon-shaped memorial features a solemn veiled matron, an eagle at her side, its wings spread protectively. Encircling them is a coiled, feathered serpent, a creature from pre-Hispanic mythology that symbolizes the deity Questzacoatl and reflects the national coat of arms. Below, four muscular figures of young native warriors clad in loincloths represent a different aspect of sacrifice and struggle, each facing a different direction: Supreme Sacrifice (east), Desperation in Defense (north), Unequal Fight (south) and The Epic (west).

The mural Sufragio efectivo, no reelección (Effective Suffrage, No Reelection) by Juan O’Gorman is named for the rallying cry of President Francisco I. Madero against the long dictatorship of Porfirio Díaz.

Fall of the Feudal Empire

When we stepped back inside from the terrace, we entered a room to the right, where a series of murals by Juan O’Gorman covered the walls. These paintings depict a turbulent chapter in Mexico’s history — the fall of the Porfirian dictatorship and the revolution that followed.

(Incidentally, O’Gorman wasn’t just a painter — he was also an architect. He designed strikingly modern homes for Frida and Diego, which pissed off the neighbors.)

One of the most striking murals, Sufragio efectivo, no reelección (Effective Suffrage, No Reelection), dominates one of the walls. Part of O’Gorman’s Retablo de la Revolución (Altarpiece of the Revolution), it captures a pivotal moment in the Mexican Revolution: the Marcha de Lealtad (March of Loyalty). At the center, Francisco Madero rides on horseback, wearing the presidential sash across his chest. The mural portrays his journey from Chapultepec Castle to the National Palace on the morning of February 9, 1913, escorted by students of the Military College. This march would mark the beginning of the Decena Trágica (Ten Tragic Days), a coup that would ultimately cost Madero his life.

Madero had risen to power in the wake of the Mexican Revolution, which erupted in 1910 against the long rule of President Porfirio Díaz. Although Díaz modernized Mexico and maintained a period of stability known as the “Pax Porfiriana,” his policies overwhelmingly favored the wealthy and foreign investors while leaving much of the population — especially indigenous communities — trapped in near-servitude. His ousting paved the way for Madero’s election as president, ushering in hopes of democracy and social justice.

But Madero’s time in power was short-lived.

The Decena Trágica was a violent siege that led to his downfall. What began as an armed revolt quickly turned into a bloody standoff in Mexico City, with intense fighting around the National Palace and the Ciudadela armory. In a devastating betrayal, Madero’s own army chief, Victoriano Huerta, turned against him. Forced to resign on February 18, 1913, Madero and Vice President José María Pino Suárez were executed just days later, on February 22, under Huerta’s orders. Their deaths threw Mexico into further chaos, deepening the revolution that would reshape the nation.

Looking into the gift shop in a central courtyard of this wing of the castle

Cannonball Run to the Gift Shop

The museum shop is located on the ground floor at the center of the Patio de Cañones (Patio of Cannons), so named for the cannons that can be found in the courtyard of the museum. The space is anchored by a sculpture by David Camorlinga dedicated to Emiliano Zapata, a key figure in the Mexican Revolution, known for championing land reform and peasant rights under the rallying cry, “Tierra y Libertad” (Land and Liberty).

The somewhat cartoonish bronze statue of revolutionary leader Emilano Zapata by David Camorlinga can be found in the Courtyard of Canons near the gift shop. The artwork captures Zapata’s defining features, including his iconic walrus mustache and broad-brimmed charro hat.

When we visited, a team was renovating the mural Batalla de Zacatecas (Battle of Zacatecas) by Ángel Bolivar from 1965. 

During our visit, the whimsical and informative temporary exhibit Juárez/Max, Reflejo de dos vidas (Reflection of Two Lives) featured dioramas that told the story of the second Mexican empire, as well as the arrival and establishment of the republic, complete with cute felt Day of the Dead-style dollies of President Benito Juárez, First Lady Margarita Maza, Maximilian von Habsburg, and his wife Princess Charlotte of Belgium.  

An ornate door in the Salón de Malaquitas

Green With Envy: Salón de Malaquitas 

This richly decorated room takes its name from its impressive malaquita (malachite) and gilt metal doors, fountains and vases. They’re actually composed of carefully fitted slivers of malachite that combine to create the illusion of a seamless surface. 

The malachite objets d’art came from Russia, purchased by Díaz from a collection shown at the first World’s Fair in 1851.

These pieces were fabricated at the Imperial Peterhof Lapidary Factory and sent by Tsar Nicholas I to showcase the artistic achievements of Russia at the first World’s Fair in London in 1851. Later, they were purchased by Díaz for the Palacio Nacional before ultimately being installed here. The vibrant green color, with their undulating bands of contrasting hues, come from naturally occurring copper carbonate deposits.

The Salón de Virreyes at Chapultepec Castle displays portraits of all 62 viceroys of New Spain. Among them is Antonio Sebastián Álvarez de Toledo y Salazar, the 18th viceroy, who served from 1664 to 1673.

Salón de Virreyes, the Hall of the Viceroys

Rounding out the museum is the Salón de Virreyes (Hall of the Viceroys), a gallery showcasing every viceroy who ruled New Spain from 1535 to 1821. It’s fascinating to see how attire and hairstyles evolved over the centuries — but the portrait that stood out most to me was of Bernardo de Gálvez, who governed from 1785 until his early death in November the next year. Created in 1796 by two friars using the sgraffito technique — derived from the Italian graffiare, meaning “to scratch” — this piece feels strikingly modern. While Gálvez’s face, hands and hat are painted, his uniform and prancing horse emerge from an intricate web of white spirals, loops and squiggly lines revealed by the “scratching” or removal of the top layer of paint. 

The surprisingly modern equestrian portrait of Bernardo de Gálvez, the 49th Viceroy of New Spain, was painted in 1796 by two friars: Jerónimo and Pablo de Jesús. 

This room was a fitting close to the National Museum of History as the castle’s buildings sprang forth from viceroyalty and evolved into a spectacular showcase of Mexico City’s past.

With the museum’s murals, artifacts and revolutionary history behind us, we stepped out into the sunlight once more. But Chapultepec Castle wasn’t done with us yet — next, it was on to the imperial side, where Maximilian and Charlotte once reigned in opulence. –Duke

Museo Nacional de Historia Castillo de Chapultepec

Primera Sección del Bosque de Chapultepec 
San Miguel Chapultepec, C.P. 11580
Delegación Miguel Hidalgo
Mexico City
Mexico

 

48 Hours in Tel Aviv: A Whirlwind of Sun, Spice and Shenanigans

Explore Tel Aviv’s top spots — Old Jaffa, Carmel Market, Tel Aviv Museum of Art and Rothschild Boulevard — in this two-day guide to Israel’s cultural capital.

Tel Aviv, Israel — where ancient history meets cutting-edge cool, and where the scent of falafel competes with the salty Mediterranean breeze. If you’ve only got 48 hours in Israel’s most vibrant city, buckle up. This is going to be a ride filled with beachside bliss, street art and enough hummus to make you consider a second stomach.

“With a mix of history, beach life and some of the best food on the planet, Tel Aviv delivers an unforgettable 48-hour adventure. ”

Day 1: Culture, Cuisine and Cocktails

Morning to Afternoon: Tel Aviv Walking Tour

Start your adventure with an extensive Tel Aviv walking tour because the best way to get to know a city is by pounding its pavements. Begin in Old Jaffa, the city’s ancient port, where cobbled alleys wind past centuries-old stone buildings, contemporary art galleries, and a view of the sea so stunning it might make you cancel your return flight.

Next stop: Carmel Market (Shuk HaCarmel) — a sensory overload of colors, smells and sounds. Here, you’ll sample Israel’s greatest hits: falafel so crispy it whispers sweet nothings as you bite in, silky hummus that could convert the most devout carnivore, and juicy fruit that make you question why produce at home tastes like disappointment.

Wrap up the tour on Nachalat Binyamin, Tel Aviv’s artsy, free-spirited street. Think vibrant murals, handcrafted jewelry, and street performances that range from mesmerizing to what did I just watch?

Late Afternoon: Beach Bliss

You’ve walked, you’ve eaten, you’ve marveled at murals. It’s time to chill. Head to Frishman Beach or Gordon Beach, where the sand is soft, the sea is inviting, and the beach bars are more than happy to provide you with a cold Goldstar beer or a fruity cocktail. Whether you choose to dip in the water, stretch out on a lounger, or just people-watch the absurdly fit Tel Avivians, this is your moment to relax.

Evening: Rothschild Boulevard and Nightlife Adventures

As the sun sets, it’s time to dress up (or at least put on your best linen shirt) and hit Rothschild Boulevard. This tree-lined stretch is Tel Aviv’s nightlife heart, packed with buzzing bars, sleek restaurants and cocktail joints that take mixology very seriously. Start at Bellboy, a speakeasy-style bar where drinks come with a side of theatrical flair. Hungry? Grab dinner at one of the city’s contemporary restaurants before diving headfirst into Tel Aviv’s legendary nightlife, where the party doesn’t stop until the sun threatens to rise again.

Day 2: Art, Markets and Mediterranean Magic

Morning: Sunrise Stroll and Coffee With a View

The Mediterranean is at its best in the morning — peaceful, golden, and just begging for an early walk or bike ride along the Tel Aviv Promenade (Tayelet). Join the locals for a jog (or let’s be real, sip coffee while watching them jog). Grab a strong Israeli espresso or a cafe hafuch (Israel’s answer to a cappuccino) at a beachside café — and let the sea breeze work its magic.

Late Morning: Tel Aviv Museum of Art

After basking in nature’s masterpiece, head to one of Tel Aviv’s actual masterpieces: the Tel Aviv Museum of Art. A haven for art lovers, it showcases Israeli and international works in a stunningly modern building. Bonus: It’s also an excellent excuse to escape the midday heat.

Lunch: The Bohemian Beauty of Neve Tzedek

Wander over to Neve Tzedek, Tel Aviv’s most picturesque neighborhood. Think charming boutiques, cute cafés and Instagrammable corners at every turn. Stop at Suzana, where the Mediterranean and Israeli flavors come together in a beautiful dance of fresh ingredients, fragrant spices, and just the right amount of tahini drizzle.

Afternoon: Treasure Hunting in Jaffa Flea Market

Jump in a taxi and head to Jaffa’s Flea Market (Shuk Hapishpeshim), a mix of vintage finds, quirky souvenirs, and stalls filled with everything from antique trinkets to trendy clothing. Bargaining is expected, so channel your inner haggler and walk away with a one-of-a-kind keepsake.

Evening: Sunset at Namal Tel Aviv

End your whirlwind 48 hours with dinner by the sea at Namal Tel Aviv, the city’s revamped port district. Picture lively restaurants, sunset views, and fresh Mediterranean seafood that tastes like it was caught five minutes ago. 

Extra Tips for Your Tel Aviv Adventure

Getting Around: The city is incredibly walkable, but electric scooters and bikes make zipping around even easier.

Best Time to Visit: March through May and September to November offer perfect weather — hot enough for the beach, but not melt-into-the-sidewalk hot.

Local Vibe: Tel Avivians are friendly, chatty, and not big on personal space — expect warm interactions and lots of hand gestures.

With a mix of history, beach life and some of the best food on the planet, Tel Aviv delivers an unforgettable 48-hour adventure. Whether you’re haggling in Jaffa, sipping cocktails on Rothschild, or simply staring at the Mediterranean in pure bliss, one thing’s for sure — this city knows how to make an impression. –Lucy Roberts

From Freaks to Serial Killers: The Dark Wonders of Graveface Museum

Dive into a world of roadside oddities, taxidermy curiosities, cult memorabilia and chilling true crime tales — including the legacies of Ed Gein and John Wayne Gacy — at Graveface Museum.

The devil’s in the details: the iconic entrance to the Graveface Museum

If your idea of the perfect afternoon includes taxidermied animals, Church of Satan memorabilia, paintings made by a serial killer, and an arcade filled with vintage monster-themed pinball machines, then the Graveface Museum might just be your new happy place. Tucked away in Savannah, Georgia’s historic Byck building along the cobblestoned Factors Walk, this one-of-a-kind museum is a must-visit for enthusiasts of the macabre, the mysterious and the downright bizarre.

Originally, Duke and I had planned a day trip to Savannah with my mom, but she decided to sit this one out due to the blustery, cold winter weather. With just the two of us making the trip, we decided to explore some of the city’s more unusual shops and attractions. 

We took an Uber from Hilton Head, South Carolina and had the driver drop us off in the artsy Starland district. It was here among the shops that we stumbled upon Graveface Records & Curiosities, a combination vinyl and oddities shop founded by Ryan Graveface — a musician, record label owner and lifelong collector of all things peculiar. (Something tells me he would get along well with Ryan and Regina Cohn, whom we’ve dubbed the King and Queen of Oddities.)

After exploring the Starland district and other aspects of quirky Savannah, we made our way to Bay Street. The Graveface Museum is tucked away in the historic Byck building at 420 East Factors Walk, a cobblestone thoroughfare sandwiched between River Street and Bay Street. Keep an eye out: This hidden gem isn’t as obvious as the tourist stops along the river — but that only adds to its allure. 

The museum pays homage to all things creepy or unusual.

A Grave Undertaking 

The museum opened in February 2020 (right before the pandemic hit, gulp) as a passion-project-turned-immersive-experience. Given that Ryan’s last name is Graveface, an affinity for the macabre seems inevitable. With a mission to preserve and showcase the stranger aspects of history, he’s curated an eclectic mix of roadside attractions, true crime artifacts, cult memorabilia and secret society paraphernalia, among other peculiarities.

Highlights include the largest private collection of John Wayne Gacy’s paintings, artifacts from Ed Gein’s notorious crimes, and exhibits on topics ranging from Satanism to UFO cults. The museum also features a free pinball arcade, offering visitors a chance to unwind after exploring its darker displays.

The eclectic gift shop

Enter Through the Gift Shop

Your journey into the macabre begins in a gift shop that’s as offbeat as the museum itself. Part retail space, part curiosity cabinet, it’s stocked with horror-themed merchandise, oddities and hilariously gory painted movie posters from Ghana, Africa. It’s an appetizer for the weirdness that lies ahead.

Sunny days…with a side of terror: Ernie and Bert masks up front

The $25 entrance fee might seem a bit steep, but if you’re into all things weird, it’s worth it. The staff is brimming with enthusiasm, eager to share their knowledge of the unusual. With your ticket in hand, you’re ready to step into a world where the bizarre, the dark and the fascinating collide. Step right up — into the gaping maw of a bright red devil.

The first room of the museum houses medical oddities like the Spiderfawn.

The Tour Begins: Roadside Oddities

The first room welcomes you into a world of roadside curiosities — an homage to the kitschy, the creepy and the oddly endearing. Here, you’ll find displays of “freaks of nature”: a taxidermied faun with two heads and extra legs, and Clementine, a calf with five legs — a mix of biology gone awry and human fascination with the unnatural.

But not everything is what it seems. This room dives into the art of Homer Tate, nicknamed the “King of Gaffes” for devising grotesque, cobbled-together creations that once dazzled and duped carnival-goers, including a few variations of the infamous Fiji mermaid. Our favorite was the one called Fish Girl, which incorporated the red hair of Tate’s wife and a cat’s teeth. 

This Fiji mermaid is a hoax by Homer Tate, who used his wife’s hair and his cat’s teeth.

Apparently, Tate also produced shrunken heads — some fake, some real! — and was arrested for grave robbing. However, since he was the town sheriff, he didn’t spend have to worry about spending time behind bars.

Also in this first room are dioramas of taxidermied critters that reveal a peculiar Victorian obsession: crafting miniature scenes featuring preserved animals in quirky, anthropomorphic roles. These whimsical displays, once popular showpieces for the 19th century elite, straddle the line between charming and unsettling. Our favorite? A tiny circus featuring prematurely born kittens as the star performers — walking the tightrope, balancing on balls and delighting an imaginary crowd. What else would you expect from the generation that created death photography?

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RELATED: See this roadside oddity in Pittsburgh, Pennsylvania

Cute l’il Clementine was born with five legs. You can see the purple mirrored chamber about Heaven’s Gate and alien abductions.

Alien Abductions and Heaven’s Gate

From roadside oddities, you’re transported into a small, mirrored room that feels like stepping into another dimension. This space is dedicated to UFO lore, alien abductions, and one of the most infamous cults of modern times: Heaven’s Gate. A  video loop of its founder anchors the exhibit and offers a chilling glimpse into the cult, whose members believed they would ascend to an alien spacecraft trailing the Hale-Bopp comet. 

The room’s mirrors amplify the eerie vibe, reflecting the otherworldly artifacts and making you feel like you’ve entered a cosmic echo chamber.

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RELATED: Are there alien-human hybrids on Earth?!

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The mannequin on the right is of Anton LaVey, who founded the Church of Satan.

Satanism and Secret Societies

The next stop on our journey delved into the forbidden, the misunderstood and the hidden corners of belief systems. 

One room is dedicated to Satanism, with a focus on the Church of Satan and its theatrical founder, Anton LaVey, whose philosophy challenged societal norms and fueled decades of controversy. Sexual liberation played a major part in LaVey’s teachings, and he encouraged members to embrace it. LaVey contended that living in a society in which we repress our natural urges and instincts results in unhappiness. 

From there, we entered a room dedicated to Christianity and secret societies like the international Order of Oddfellows. Artifacts from these groups reveal a fascinating interplay between faith, ritual and mystery. 

The juxtaposition of these belief systems — one often feared and the other foundational to Western culture — invites you to ponder the fine line between the sacred and the profane.

Stop and play some pinball to prep yourself for a (serial) killer ending.

The Pinball Arcade

Just when the heavy, dark vibe starts to settle in, the museum offers a much-needed breather: a room filled with vintage pinball machines. It’s a welcome shift in atmosphere, adding a playful, nostalgic charm to the experience.

Of course the lineup features creepy classics like The Addams Family, Dracula, and Halloween, a perfect nod to the museum’s macabre aesthetic. Best of all? These machines are free to play. Whether you’re a seasoned pinball wizard or just looking for a moment to decompress, this quirky arcade is the perfect palate cleanser before diving back into the dark history waiting around the corner.

This macabre display is a re-creation of Ed Gein’s final murder, where he decapitated a woman’s head and mutilated her genitals.

Haunted House: Ed Gein’s World

From pinball nostalgia, you’re thrust into the unsettling world of Ed Gein, aka the “Butcher of Plainfield” — a man whose gruesome crimes blurred the line between true crime and urban legend. The guided tour through Gein’s macabre legacy busts some of the myths that have grown around his name. No, there weren’t lampshades made of human skin or a “nipple belt.” (Gein didn’t even have electricity, and that infamous accessory was a hoax made out of latex.) But yes, he really did use skin to upholster the seat of a chair, and he carried around a nifty keychain made from a piece of his mom’s scalp and hair. 

Ed Gein inspired numerous villains in horror movies, including Psycho, The Silence of the Lambs and The Texas Chain Saw Massacre.

Gein, who robbed graves and murdered two women, is the inspiration for countless fictional killers, from Norman Bates to Buffalo Bill and Leatherface. The exhibit doesn’t flinch in showing the grisly details, including a diorama of his final victim. She’s depicted hanging upside down, her head cut off, and her genitals mutilated, revealing the true depravity of his crimes. This was to me the most disturbing aspect of the museum. 

We followed our guide up a staircase lined with grisly black and white crime scene photos of mob hits that reminded me of the work of Weegee. 

And yet, as shocking as it all is, there’s something oddly captivating about Gein himself. The small town simpleton obviously had horrific hidden depths. 

John Wayne Gacy dressed up like a clown…when he wasn’t torturing and murdering young men and boys.

Upstairs: John Wayne Gacy’s Disturbing Legacy

Climbing the stairs to the section dedicated to John Wayne Gacy, the infamous “Killer Clown,” felt like stepping into an even darker realm of horror. In this room, our guide, her tuna fish can earrings jangling as she spoke, recounted the grim tale of Gacy. He was a seemingly ordinary married man from suburban Norwood, Illinois, who, during the 1970s, tortured, sexually assaulted and murdered (not necessarily in that order) 33 boys and young men. Gacy's preferred method of killing was strangulation, chillingly referred to as his "rope trick." 

One wall of the museum is dedicated to the faces of Gacy’s known victims — a haunting tribute to the young men whose lives he stole. Seeing their photos lined up, it’s impossible not to picture the unimaginable horrors they endured.

Many of Gacy’s paintings were of the Seven Dwarves — a reflection of a childhood obsession

But what sets this room apart is the strange, surreal focus on Gacy’s art. Displayed prominently are his original paintings, including a series of the Seven Dwarves (Snow White is notably absent). Gacy’s clown paintings are equally unnerving, given his former role as a community entertainer in full clown getup.

A list of prices reveals that back in the 1990s, you could pick up a Gacy painting for a mere 100 bucks (or $270 nowadays). Today, their value has skyrocketed as collectors clamor for a piece of true crime infamy — a disquieting reminder of our society’s fascination with killers.

Keep an eye out for a documentary the Graveface gang is working on about Gacy. 

Wally put his best freak on to try out to be a permanent exhibit at the Graveface Museum.

A Must-See for Oddities Enthusiasts 

The Graveface Museum isn’t for the faint of heart — if you’re squeamish or prefer your history without a macabre twist, it’s best to give this one a pass. But for those intrigued by the intersection of the bizarre and the dark, it promises a one-of-a-kind experience.

From taxidermied curiosities and cult artifacts to the unsettling tales of Ed Gein and John Wayne Gacy, the Graveface Museum balances horror with history, never veering into exploitation, but refusing to shy away from the unsettling truths of human nature And let’s not forget about the free pinball!

Whether you walk away fascinated, haunted or simply grateful for the ordinary comforts of your own life, one thing is certain: The Graveface Museum will stick with you long after you’ve left its eerie halls. –Wally

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The Oddities Flea Market

Death masks and other delights!

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The Deets

When yoiu see Freemasons’ Hall, you’re close. Find the fittingly creepy Lower Factors Walk between Bay and River.

Location

The Graveface Museum is tucked away at 410 East Lower Factors Walk, a strange little in-between street near Savannah’s waterfront. It’s not quite street level and not quite below it, but rather a cobblestone thoroughfare sandwiched between River Street and Bay Street. 

If you’re driving, nearby parking can be tricky, so plan ahead or prepare to walk a bit.

Admission
Tickets cost $25 per person, which includes access to all exhibits and the free-play pinball arcade. 

Hours of Operation
Monday through Saturday: 11 a.m. to 7 p.m.
Sunday: 12 p.m. to 6 p.m.

Hours may vary, so it’s always a good idea to check their website or call ahead before visiting.

Graveface Museum

410 East Lower Factors Walk
Savannah, Georgia 31401
USA

Discover Dubai’s Top Museums

Explore the best museums in Dubai, from ancient history at Al Fahidi Fort to cutting-edge innovation at the Museum of the Future. Learn about must-visit attractions for families, history buffs and selfie addicts.

Museum of the Future

Beneath Dubai’s veneer of glittering skyscrapers and luxury malls lies a deep cultural heritage, best experienced through its world-class museums. Whether you’re dreaming of time-traveling to the Iron Age, walking among the stars (or their waxy doppelgängers), or immersing yourself in candy-coated fantasy lands, Dubai’s museums offer something for everyone. One thing that’s certain: There’s no shortage of over-the-top attractions in Dubai.

From history buffs to art aficionados, these cultural gems promise more than knowledge — they deliver unforgettable adventures. And the city is a great place for families to visit. There are plenty of things to do with kids in Dubai.

Ready to uncover the past, embrace the present and peek into the future? Let’s dive into Dubai’s top museums that are guaranteed to enrich your trip (and, let’s face it, your social feed).

Hours and ticket prices could change. It’s always a good idea to check their website first. 

3D World Dubai Selfie Museum

📍 Warehouse 4, Street 26, Al Quoz Industrial Area 3, Dubai

Prepare to step into a realm where art and imagination collide. The 3D World Dubai Selfie Museum experience isn’t just a place to admire art; it’s a place to become it. With over 185 hand-painted trompe-l’oeil photo ops spread across nine fantastical zones, this 23,000-square-foot wonderland invites you to take pics that look like you’re getting tongued by a giant chameleon, walking a tightrope, battling Yoda or wandering Wonderland. These playful optical illusions will blow your mind, and the friendly staff are always on hand to help you nail the perfect shot.

Whether you’re flying solo or wrangling the whole family, this interactive playground promises unforgettable memories and enough Instagram gold to keep your followers entertained for weeks.

Opening hours: 

• Daily from 10 a.m. to 8 p.m.

• Last entry: 7 p.m.

Ticket prices: 

• Visitors 3 and older: AED 89

• Children 2 and under: Free

Al Shindagha Museum

📍 Al Shindagha Heritage District, Dubai

Step into the heart of Dubai’s history at the Al Shindagha Museum, a sprawling outdoor museum located along the picturesque Dubai Creek. This cultural gem takes you on a journey through the city’s transformation from a humble fishing village to a global metropolis. Wander through beautifully restored 19th century homes and themed pavilions that bring Emirati traditions to life. Highlights include the Perfume House, where you can craft your own scent, and the House of Poetry, which celebrates the art of Emirati storytelling.

Best months to visit: November through April, when cooler weather makes exploring the heritage district more enjoyable.

Opening hours: 

• Daily: 10 a.m. to 8 p.m.

• Last entry: 7 p.m.

Ticket prices: 

• Adults (25 and above): AED 35

• Youth (5 to 24): AED 20

• Children 4 and under: Free

Arte Museum Dubai

📍 Dubai Mall, Downtown Dubai

Step into the Arte Museum Dubai, where cutting-edge digital art transforms the beauty of nature into an immersive, multi-sensory experience. Spread across 30,000 square feet (2,800 square meters) and 14 immersive zones, this museum combines captivating visuals, soundscapes by composer Young-Gyu Jang, and even unique scents tailored to each exhibit. Highlights include breathtaking media art installations and a serene break at the Arte Tea Bar, where you can sip on exquisite drinks while marveling at the artistry around you.

Whether you’re an art connoisseur or just looking for an unforgettable adventure, the Arte Museum promises a feast for the senses.

Opening hours: 

• Monday to Thursday: 10 a.m. to 11 p.m.

• Friday to Sunday: 10 a.m. to midnight

Ticket prices: 

• Visitors 5 and older: AED 129

• Children 4 and under: Free

Coffee Museum

📍 Al Fahidi Historical Neighborhood, Dubai

For coffee lovers and history buffs alike, the Coffee Museum offers a deep dive into the Arab world’s enduring love affair with coffee. Nestled in the charming Al Fahidi Historical Neighborhood, this quaint museum explores the journey of coffee through time, from its discovery in Ethiopia to its integral role in Middle Eastern culture.

Learn about the legend of Kaldi, a goat herder who noticed his charges acting energizing after chomping on some berries, the transformation of coffee during the black gold era, and the fascinating rituals surrounding Arabic coffee. The museum’s two floors are packed with artifacts, brewing methods and stories that capture the essence of this beloved beverage.

Opening hours: 

• Saturday to Thursday: 9 a.m. to 5 p.m.

• Friday: Closed

Ticket prices:

• Free

Dubai Museum

📍 Al Fahidi Street, Bur Dubai, Dubai

Note: As of this writing, the museum is closed for renovations, set to reopen in 2025. 

It’s hard to imagine something this old standing in the heart of this glittering modern metropolis. Yet the Al Fahidi Fort, which houses the museum, is Dubai’s oldest surviving structure, built in 1787.

The Dubai Museum brings the city’s past to life with immersive dioramas, traditional Bedouin tents and a model dhow, a wooden sailing vessel, that offers a glimpse into maritime trade. Stroll through a vibrant souk, marvel at ancient artifacts like pottery and weapons, and soak in the architectural beauty of coral stone walls and watchtowers.

Don’t miss the serene central courtyard, where traditional summer houses made of palm fronds provide a perfect spot to pause and reflect on Dubai’s rich heritage.

With its life-sized exhibits and captivating stories, this museum offers a window into the vibrant history of the Emirati people.

Opening hours: 

• Daily from 8:30 a.m. to 8:30 p.m.

Ticket prices: 

• Visitors 15 and older: AED 3

• Children 14 and under: AED 1

Madame Tussauds Dubai

📍 Bluewaters Island, Dubai

Lights, camera, wax! At Madame Tussauds Dubai, you can rub elbows with lifelike figures of your favorite celebrities, from Hollywood legends and Bollywood icons to music megastars and sports heroes. Wander through seven themed zones, snapping selfies with stars like Justin Bieber, Taylor Swift, Harry Styles, Marilyn Monroe, and Lionel Messi as well as political figures like Queen Elizabeth II. Whether you’re walking the red carpet or posing with your role models, every room feels like a glamorous adventure.

Perfect for fans of all ages, this wax wonderland blends glitz, fun and a touch of star power to brighten your day.

Opening hours: 

• Sunday to Thursday: 12 p.m. to 8 p.m.

• Friday and Saturday: 11 a.m. to 9 p.m.

Ticket prices: 

• AED 145 per person 

• Family tickets for two adults and two children: AED 424

Museum of Candy

📍 City Walk, Dubai

Step into a sugar-coated wonderland at the Museum of Candy, where your sweetest dreams come to life. With over 15 candy-themed zones like Sweetopia, Gummy Bear Pool and the Louvre of Lollies, this interactive experience is a feast for the eyes. Compete in cotton candy challenges, indulge in milkshakes, and collect enough candy memories to last a lifetime.

Perfect for kids and kids at heart, this colorful haven promises 60 to 90 minutes of whimsical fun and endless photo ops. Sweet!

Opening hours: 

• Monday to Thursday: 10 a.m. to 10 p.m.

• Friday to Sunday: 10 a.m. to midnight

Ticket prices: 

• Visitors 12 and over: AED 109

• Children 11 and under: AED 89

• Children 2 and under: Free

Museum of Illusions Dubai

📍 Al Seef, Dubai Creek, Dubai

Prepare to have your mind blown at the Museum of Illusions, a world where nothing is quite as it seems. From the disorienting Vortex Tunnel, where gravity takes a holiday, to the mesmerizing Infinity Room, this museum offers interactive experiences that challenge your perception. Strike quirky poses in the Tilted Room, or take unforgettable group shots in the Ames Room, where sizes shift based on your position.

With exhibits designed to entertain, amuse and make you question reality, the Museum of Illusions is a must-visit for all ages.

Opening hours:

• Sunday to Wednesday: 10 a.m. to 10 p.m.

• Thursday to Saturday: 10 a.m. to 11 p.m.

Ticket prices:

• Adults (16 to 59): AED 80

• Children (5 to 15): AED 60

• Children 4 and under: Free

• Seniors (60 and over): AED 70

• Students: AED 70

• Family Package (2 adults and 2 children): AED 225

• Family & Friends Package (5 tickets for adults or children): AED 320

Museum of the Future

📍 Sheikh Zayed Road, Trade Centre 2, Dubai

Get ready to step into the year 2071 at the Dubai Museum of the Future, an architectural marvel and a playground for innovation. This iconic steel and glass structure, adorned with Arabic calligraphy, offers a glimpse into the future of humanity. Explore exhibits on cutting-edge advancements in biodiversity, renewable energy, space exploration and more. Each floor immerses you in a visionary world where artificial intelligence and augmented reality redefine what’s possible.

Don’t miss the interactive displays that spark curiosity and challenge you to imagine a better tomorrow. The Museum of the Future is an invitation to dream big.

Best months to visit: April, May, September and October, for fewer crowds and a more immersive experience.

Opening hours: 

• Daily: 10 a.m. to 9:30 p.m.

• Last entry: 7:30 p.m.

Ticket prices: 

• Visitors 4 and older: AED 149

• Children 3 and under: Free

Saruq Al-Hadid Archaeological Museum

📍 Shindagha Heritage District, Dubai

Journey back to the Iron Age at the Saruq Al-Hadid Archaeological Museum, where over 12,000 artifacts paint a vivid picture of Dubai’s ancient history. Housed in a beautifully restored building that once belonged to Sheikh Juma bin Maktoum, this museum reveals the secrets of a trading and metallurgy hub from centuries ago. Explore intricate jewelry, tools, ceramics and even the golden ring that inspired the Dubai Expo 2020 logo.

With interactive displays and engaging audiovisuals, this museum is a treasure trove for history lovers and curious minds alike.

Opening hours: 

• Sunday to Wednesday: 8 a.m. to 8 p.m.

• Thursday and Saturday: 8 a.m. to 2 p.m.

Ticket prices: 

• Visitors 13 to 59: AED 20

• Children 7 to 12: AED 10

• Children 6 and under: Free

• Seniors 60 and over: Free

Dubai Museums: Where History and Imagination Meet

Dubai’s museums are vibrant gateways into the city’s rich past, dazzling present and visionary future. Whether you’re wandering the candy-coated realms of the Museum of Candy, marveling at Iron Age treasures in Saruq Al Hadid, or stepping into tomorrow at the Museum of the Future, there are plenty of fun things to do in Dubai, each offering an experience as diverse as the city itself.

From art enthusiasts and history buffs to families seeking fun, there’s a museum to ignite every traveler’s imagination. So why settle for the ordinary? Add a dash of wonder to your Dubai itinerary and let these incredible museums turn your trip into an unforgettable story — and provide the most epic selfies ever. –Meenakshi Nair

The Architectural Evolution of the Louvre: From Fortress to Museum

Explore the Louvre’s journey from a medieval castle to a world-renowned museum, uncovering its rich history, design changes and cultural legacy.

The Louvre, known for its iconic art collection, houses more than just masterpieces within its walls — it holds centuries of a stormy history and transformation. 

Originally a medieval fortress, the Louvre has been reshaped over the ages into one of the largest and most renowned museums in the world. This journey through its architecture not only reflects changing styles but also France’s tumultuous past. Let’s step through time and experience the evolving grandeur of the Louvre.

Where Did the Louvre Get Its Name?

First things first: Ever wondered why one of the world’s most famous museums is called the Louvre? You’re not alone, and, like many things in history, the truth is a bit murky. There are a couple of theories, though, both equally intriguing.

The first — and perhaps the most vivid — traces the name back to the Old French word lupara, meaning wolf. Legend has it that the Louvre might have started as a hunting lodge, a place where wolves once roamed, or perhaps a refuge for those hunting them. Imagine early Parisians chasing down these wild creatures in the shadows of what would one day house the Mona Lisa.

The second theory takes us in a different direction, connecting the name to the Frankish word leovar or leower, meaning a fortified place or watchtower. And this one holds some weight, considering the Louvre began its life in the late 12th century as a defensive fortress. 

The Louvre’s Early Years: A Fortress for Kings

The year: 1190. Paris is a thriving but vulnerable medieval city. King Philip II, wary of invasion, commands the construction of a fortress to shield the city from foreign threats. 

The structure — thick stone walls, a deep moat — was built to intimidate and protect. The cold, imposing silhouette of the Louvre Castle stood firm, safeguarding the kingdom’s treasures and its people. 

Yet, as the centuries passed, Paris evolved, and so did the fortress. By the 14th century, under the reign of Charles V, the once purely defensive stronghold began its metamorphosis into a royal palace, draped in the elegance of Gothic architecture, with soaring arches and intricate stonework. The rigid fortress had turned into a symbol of royal power and opulence, reflecting the splendor of the era.

Renaissance Transformations of the Louvre

The Renaissance breathed new life into the Louvre, reshaping it from a fortress-turned-palace into a majestic royal residence. 

In the 16th century, Francis I, a king passionate about art and architecture, envisioned a Louvre that would rival the finest palaces of Europe. He summoned renowned architects like Pierre Lescot to reimagine the building. Stone masons carved delicate sculptures, artisans crafted grand façades, and courtyards took shape — where once there had been utilitarian walls. 

The Cour Carrée, a resplendent square courtyard, emerged as a harmonious blend of Renaissance ideals. Classical columns and elegant pediments framed the space, signaling the Louvre’s new status. No longer a fortress of war, the Louvre was becoming a beacon of French culture, preparing to house not just royals, but the world’s greatest artistic treasures.

The Louvre as Museum

Fast forward to the throes of the French Revolution. The palace, once reserved for royalty, was swept into the tide of change. 

Interestingly, the Louvre itself wasn’t invaded or looted in the chaotic way that some other royal properties were during the Revolution. While many royal residences, like the Palace of Versailles, faced mobs and plundering, the Louvre largely escaped such direct violence.

Instead of looting, there was a process of “nationalization.” Artworks that had belonged to the monarchy, the Church and émigrés (those who fled the country) were legally confiscated and transferred to the Louvre. Revolutionary authorities essentially took over the management of the collections, treating them as public property rather than private royal possessions.

In 1793, the Louvre opened its doors to the public as a museum, a gesture that symbolized the democratization of art and culture. Citizens, for the first time, stood in front of masterpieces previously reserved for the most elite. 

Over the years, its halls would expand, as art from all over Europe poured in. 

By the 19th century, the Louvre was undergoing a new transformation — architects like Hector Lefuel extended and renovated its galleries, crafting the museum we recognize today. 

And then came the most daring addition of all: a modern wonder amid centuries of history.

The Glass Pyramid: A Modern Icon

In 1989, I.M. Pei unveiled his controversial masterpiece: the glass pyramid. 

At first, the contrast was startling. How could this sharp, transparent structure belong in a space so rich with centuries of stone? 

Yet over time, the pyramid became a beloved symbol of the Louvre’s embrace of both past and future. Its sleek lines rise from the courtyard like a beacon, inviting visitors into the heart of the museum. The sunlight streams through its glass panels, casting an ethereal glow across the underground lobby, an unexpected harmony of ancient and modern.

Experiencing the Louvre Today

Today, the Louvre could be considered a pilgrimage site for art lovers from around the globe. Housing over 38,000 works, including the enigmatic Mona Lisa and the timeless Venus de Milo, the Louvre offers not just a glimpse into the history of art but also a walk through the very evolution of Paris and France itself. 

As you wander its grand galleries, each wing tells a different story — of kings, of revolutions, of artistic triumphs. The very stones of the Louvre whisper of the centuries they’ve witnessed.

For modern visitors, the experience begins long before entering its halls. With millions flocking to its doors, securing tickets to the Louvre in advance is essential to making the most of your time. Booking your Louvre tickets online ensures not only your entry but also your chance to explore this monumental blend of history and art at your own pace.

Standing beneath the glass pyramid, surrounded by the architectural echoes of past centuries, you’re stepping into a story that spans from medieval fortifications to modern masterpieces. And when you visit, you’ll become part of the Louvre’s ongoing story. –John Cunningham

 

Beyond Paris: Travel to Lesser-Known France

The most underrated places in France: Nantes, Amiens and Rennes — where mechanical elephants, floating gardens and medieval wonders await your next adventure.

Porte Saint-Pierre in Nantes

Sure, Paris is the City of Love, the place where couples smooch along the Seine. But if you think France is just pain au chocolat, promenades and Paris, you’re just scratching the surface. Once you’ve marveled at the must-sees and taken more Eiffel selfies than your Instagram can handle, it’s time to move beyond Paris into the France that doesn’t always make it into the guidebooks.

We’re not saying you should skip Paris — there are just some hidden gems you should also check out.

First Up: Gay Paree

Of course, any trip to France is worth a stop-off in Paris. The first rule? Don’t be in a rush. Paris is a city meant to be savored — one street, one café, one perfect pastry at a time. 

Begin your journey on foot, meandering through boulevards filled with the smell of fresh bread, the buzz of busy terraces and architecture that just might be older than your country. 

Once you’re ready to kick things up a notch, switch over to the Métro or tram — the real Parisian way to get around. Sure, you could opt for taxis or ride-shares, but you’d be missing the electric hum of everyday life on the city’s veins.

Of course, you’ll want to plan ahead. If you want to visit the Louvre, don’t even think about showing up without pre-booked tickets. Skip the epic queues and head straight into the thick of it. 

Or, if you’re craving a bit more underworld mystique, take the plunge into the Catacombs of Paris — a dark, fascinating corner of the city. 

And for the romantics, the Eiffel Tower may be free to admire from below, but if you want to climb up, save yourself time (and foot cramps) by booking your tickets in advance.

Jardin des Tuileries

Picnics, Cruises and Prepping for the Great Escape

Before you say your final “au revoir” to Paris, it’s time to embrace the most Parisian of pastimes: picnicking in a garden. Pack up a basket with a crusty baguette, some fancy cheese, and a bottle of rosé — this is France, after all. Parc des Buttes-Chaumont, Jardin des Tuileries and Luxembourg Gardens are the perfect spots to recharge. 

But Paris is just the beginning. Once you’ve ticked off the iconic sights, why not step into the real adventure — those lesser-known spots where the crowds thin and the charm thickens. Take a road trip or hop on a train, and dive into the countryside, where France has some seriously under-the-radar gems waiting for you.

Here’s your guide to three fascinating cities that will make your trip to France unforgettable.

Nantes: The City of Innovation and Imagination

If there’s a city where imagination runs wild, it’s Nantes. Perched along the Loire River, this historic gem was once the bustling capital of Brittany and a powerhouse of trade and commerce. Fast forward to today, and Nantes has reinvented itself as a vibrant playground for artists, engineers and visionaries — where creativity isn’t just encouraged, it’s celebrated at every turn.

Must-See Attractions in Nantes

Les Machines de l’Île: A fantastical world inspired by Jules Verne and Leonardo da Vinci, this is one of Nantes’ most famous attractions. Here, you’ll find mechanical animals, including the iconic 40-foot-tall elephant that you can ride as it lumbers through the streets.

Château des Ducs de Bretagne: This 13th century castle is a key part of Nantes’ history. Once the seat of the dukes of Brittany, it now houses a museum that tells the story of the city’s past, including its shameful role in the transatlantic slave trade.

Les Anneaux (The Rings) on l’Île de Nantes

Île de Nantes: The island at the heart of the city is a blend of modern art installations, restaurants and waterfront paths. You’ll find sculptures that pop up in unexpected places, and the island is a symbol of Nantes’ artistic resurgence.

Amiens: France’s Hidden Medieval Treasure

Perhaps Amiens hasn’t made your radar yet — but trust me, it’s one of France’s best-kept secrets, far from the touristy throngs most people associate with a trip to France. Nestled in the Haut-de-France region in the north, Amiens is divided by the River Somme and boasts a blend of charm, history and, yes, some seriously Instagrammable spots. If you’re hunting for a place to grab some mouthwatering French cuisine or buy a perfectly aged bottle of wine, the shops and cafés along Quartier St.-Leu’s narrow, cobbled streets are practically begging you to stop by.

Now, here’s the kicker: Amiens is ridiculously budget-friendly. Sure, France has a rep for being on the pricey side, especially if you’re staying where all the iconic sites are. But in Amiens? You can snag top-tier hotels without emptying your wallet. So while you might be pinching pennies in hostels across Paris or Marseilles, Amiens is where you treat yourself to a touch of luxury. Balance, my friends. Amiens is the city that gets it.

Must-See Attractions in Amiens

Amiens Cathedral: This Gothic masterpiece is one of the largest churches in the world and boasts intricate carvings and towering spires. As a UNESCO World Heritage site, it’s known for its exceptional beauty. The cathedral’s façade was originally painted in vibrant colors. Over time, the paint wore away, leaving the stone we see today. During the summer, a light show recreates these original rainbow hues.

Les Hortillonnages: These floating gardens are situated on a network of canals and have been cultivated since the Middle Ages. You can explore them by boat, winding through the greenery and flower-filled gardens that seem worlds away from the city streets.

Maison de Jules Verne: While Verne was born in Nantes, he spent much of his life in Amiens, where he wrote some of his famous novels. His former home is now a museum that gives visitors a glimpse into his world and imagination.

Rennes: Medieval Meets Modern

In the final stop on our tour of underrated French gems, the road less traveled takes us to Rennes, the capital of Brittany, where history and modernity collide in the best way possible. What sets Rennes apart? Picture medieval half-timbered houses lining the streets, right alongside the imposing grandeur of the cathedral. It’s like stepping into a time machine — but with better coffee.

Must-See Attractions in Rennes

Parlement de Bretagne: Once the seat of the Brittany parliament, this grand building is a must-see for history buffs. It survived a major fire in the 1990s and was carefully restored. Guided tours give visitors a glimpse into the past and the intricate artwork inside.

Thabor Gardens: One of France’s most beautiful public parks, the Thabor Gardens span 25 acres (10 hectares) and include a French garden, English garden, rose garden and aviary. It’s the perfect spot for a quiet escape after a day of sightseeing.

Musée des Beaux-Arts: Art lovers will feel right at home in this museum, which boasts works from European masters like Rubens, Botticelli and Picasso. The museum’s collection covers everything from ancient Egyptian artifacts to modern art.

The Rennes Opera House

France off the Beaten Path

France is so much more than Paris. By stepping off the beaten path and exploring places like Nantes, Amiens and Rennes, you’ll not only escape the tourist crowds but will also discover the true heart of the country. It’s in the untapped corners, the quiet lanes and the lesser-known wonders. As they say: Life is about the adventures you take and the memories you make. –Sadie Smith

Centre Pompidou Málaga: A Modern Art Marvel

El Cubo, as locals call it, a museum located in Málaga’s vibrant port, is anything but boring. This dazzling structure, designed by Daniel Buren, houses a captivating collection of avant-garde art.

The surprising multicolored cube on Málaga’s port is a branch of the Centre Pompidou, Paris’ modern art museum.

When I was in high school, my French class took a trip to Paris, and it was there that I first laid eyes on the Centre Pompidou. The building’s exterior, with its industrial ductwork winding up like a scarlet-bellied serpent, and a pair of cherry red lips spouting water in the fountain, captivated my youthful imagination. 

But if you thought the Centre Pompidou was just that quirky building in Paris, think again. The avant-garde behemoth has spawned a sibling in Málaga, Spain; the city famous for its hometown homeboy, Picasso, and amazing Moorish landmarks like the Alcazaba and Gibralfaro, got a bit of Parisian modern art chic.

“The project was initially conceived as a limited five-year venture.

It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.”

Various sculptures are put on temporary display outside of the museum.

Why Málaga?

The project was initially conceived as a limited five-year venture between Málaga’s mayor, Francisco de la Torre, and the Centre Pompidou’s president, Serge Lasvignes. The French institution agreed to lend its brand name, curatorial expertise and artworks from its Paris HQ to the chic port city of Málaga in the South of Spain. This cultural experiment provided the perfect canvas for the Centre’s first foray outside France. It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.

Daniel Buren came up with the whimsical design.

The Colorful Genius and Bold Design of Daniel Buren

The Centre Pompidou Malaga isn’t just a museum — it’s a statement. You can’t miss it. Its design is as bold as its Parisian parent’s. But instead of resembling a building turned inside out, the Pompidou Málaga looks like a giant Rubik’s Cube made of glass was plopped down in the city’s port. It’s the brainchild of French artist Daniel Buren, renowned for his use of bold colors and geometric patterns.

Buren takes an in situ approach, which is a fancy way of saying he integrates his pieces directly into their environments, creating site-specific art that interacts with its surroundings. And that’s certainly the case with El Cubo (the Cube), as the Málaga Pompidou is affectionately called. A transparent, multicolored structure serves as the entrance to the subterranean museum space. Its design is a sharp contrast to the traditional Spanish architecture around it, making it a standout landmark. 

Buren’s use of color and light transforms the cube into a dynamic piece of art, changing its appearance with the movement of the sun and the seasons. It’s as much a work of art as those found within. Try walking by at different times (sunrise or night, in particular) to see how light plays upon the façade.

The museum opened in 2015 for a short stint — but it has obviously done well enough to extend its agreement through 2034.

The Pompidou Málaga’s Opening Act

When it first opened in 2015, the Centre Pompidou Málaga was met with a mix of excitement…and skepticism. Art critics and the public alike were curious about how this Parisian transplant would fit into the cultural tapestry of Málaga. But The Guardian gushed, “The Centre Pompidou in Málaga represents a bold cultural experiment, bridging the artistic ethos of Paris with the vibrant spirit of southern Spain.”

Meanwhile, El País highlighted the architectural contrast: “Daniel Buren’s colorful cube stands as a beacon of modernity against Málaga’s historic skyline, symbolizing the city’s commitment to contemporary art.”

Wally and Duke can find modern art to be hit or miss — but the Centre Pompidou Málaga was filled with cool, thought-provoking works.

Art and Exhibitions at the Pompidou Málaga

But the Centre Pompidou in Málaga isn’t just a pretty cube — it’s a treasure trove of modern masterpieces that would make any modern art lover swoon.

The permanent collection is a curated selection of works from the vast repository of the Centre Pompidou in Paris. It spans the 20th and 21st centuries, showcasing iconic pieces from celebrated artists such as Francis Bacon, Frida Kahlo, Joan Miró — and, por supuesto, Pablo Picasso. 

Lipstick by František Kupka, 1908

Bal au Moulin de la Galette by Raoul Dufy, circa 1943

Children and Lanterns by Tadé Makowski, 1929

These works are arranged thematically rather than chronologically, providing visitors with a fresh perspective on modern art movements and their interconnectedness. The themes often explore major artistic movements and their cultural contexts. You might find rooms dedicated to Cubism, Surrealism or Abstract Expressionism. This approach not only highlights the evolution of styles but also the ongoing dialogue between artists across different periods and geographies.

Hollywood Sleep by Jean Cocteau, 1953

Suddenly Last Summer by Martial Raysse, 1936

During our visit, we caught the temporary exhibition Un Tiempo Propio (or Time for Yourself for those of you who don’t speak Spanish), a spirited rebuke of the relentless demands imposed by our digital calendars. Showcasing the works of 90 artists, the exhibit delved into the theme of leisure, encouraging a pause from the daily grind. It served as a refreshing reminder to reclaim our time and disconnect, if only momentarily, from the buzz of notifications and schedules — a true celebration of the art of relaxation and the simple joys of free time.

We Stopped Just Here at the Time by Ernesto Neto, 2002

One of our favorite exhibits in Un Tiempo Proprio was by Ernesto Neto, the Brazilian maestro of the bizarre: We Stopped Just Here at the Time. This artwork was a captivating display of suspended bags filled with aromatic herbs like rosemary, parsley and thyme. The installation reminded me of a forest of hanging testicles (paging Doctor Freud!), creating a whimsical and immersive environment that invited visitors to bask in the earthy fragrances and stare, mesmerized, at the organic forms swaying gently.

Ettore Sottsass’ Flying Carpet Armchair

Sottsass’ designs are somehow retro and modern at the same time, like this minimal mint green cabinet.

We also enjoyed the Ettore Sottsass: Magical Thinking exhibition, which showcased over 100 pieces of Sottsass’ groundbreaking work. These retro-futuristic items in bright colors reminded me of Fisher-Price children’s toys, highlighting the designer’s playful approach. Sottsass was a key figure in the Memphis movement of the 1980s, which revolutionized design with its bold use of color, geometric shapes and whimsical patterns. The postmodern movement rejected minimalism in favor of a more expressive, emotionally engaging style. The exhibit captured this ethos, blending fun and sophistication in a way that made each piece feel both nostalgic and cutting-edge​. 

The Basilico Teapot

Cherry Model Teapot

it wouldn’t be a modern art museum without a creepy clown.

Discovering the Unexpected at the Pompidou Málaga

Duke and I were thoroughly impressed with the Centre Pompidou Málaga, where we encountered a captivating variety of art that was both thought-provoking and immersive. We spent a delightful couple of hours there, exploring the museum’s strange and intriguing pieces, each offering a unique perspective on modern art. The experience exceeded our expectations and was a refreshing contrast to what we consider the less inspiring exhibitions that the Museum of Contemporary Art in Chicago has featured in recent years. 

The variety of exhibits at the Centre Pompidou Málaga ensures that whether you’re a seasoned art critic or a curious traveler, there’s something that will capture your imagination and perhaps even challenge your understanding of what art can be. So, the next time you find yourself in Málaga, make sure to descend into El Cubo — you just might discover your new favorite artist or a whole new way of looking at the world. –Wally

There are lots of different areas to explore at the Centre Pompidou Málaga, but they can all be done in a couple of hours.

The lowdown

The Centre Pompidou in Malaga is located in the city’s vibrant port area, making it easily accessible. 

Hours of operation

Monday, Wednesday, Thursday, Friday: 9:30 a.m. to 8 p.m.

Saturday and Sunday: 9:30 a.m. to 8:30 p.m.

Tuesday: Closed (except on public holidays)

Holidays: Open with extended hours; always check the official website for up-to-date holiday hours.

Admission costs

General admission: €9

Reduced admission: €5.50 (available for seniors over 65, students under 26 and large families)

Free admission: For children under 18, unemployed individuals and visitors with disabilities (with one companion)

Special free hours: On Sundays from 4 p.m. to closing, and all day on certain designated dates (such as International Museum Day)

Exit through the gift shop.

Tips for visitors

Advance tickets: It’s a good idea to purchase tickets online in advance to avoid long lines, especially on weekends and holidays.

Guided tours: Consider booking a guided tour to get the most out of your visit. Tours are available in multiple languages and offer deeper insights into the exhibitions.

Accessibility: The Centre Pompidou is fully accessible to visitors with disabilities. Elevators and ramps are available, and wheelchairs can be borrowed at the information desk.

Photography: Photography without flash is allowed in most areas.

Coat/bag check: Leave your bags and coats to make it easier to enjoy the exhibits unburdened.

Gift shop: Exit through the gift shop, where you can pick up some cool souvenirs or gifts.

Centre Pompidou Málaga

Pasaje Doctor Carrillo Casaux
Muelle Uno
Puerto de Málaga
29001 Málaga
Spain