From a CityLab.com online article:
The first of these urban amenities arose in the 1960s, but it was in the 1980s and ‘90s that the construction of science centers truly boomed. Inspired by historic World’s Fair exhibitions, industrial and natural history museums, and the sci-fi dreams of their early founders, science centers had a hands-on mission distinct from that of most museums—to engage rather than display. They offered levers you could pull, gyroscopes you could spin, lab experiments you could conduct.
The science center is an adolescent among museum types, one whose main growth spurt was in recent memory. Over the past 40 years, they went from a sparse to a ubiquitous presence, now found in almost every major city. Their emergence stretched the ontological essence of the museum: They present not objects, but concepts. Many science centers define themselves explicitly this way and possess slim to no permanent collections.
of the artist’s expansive and materials-focused practice from the 1970s to the present.
Charles Arnoldi was a young man from Dayton, Ohio who had seen little of the world when he arrived in Southern California in the mid 1960s. Following stints at a local community college and Chouinard Art Institute, Arnoldi won LACMA’s New or Young Talent Award in 1969 and thus began his ever-evolving career which continues to this day in his sprawling Venice studio.
Hailed as “a towering figure in the world of experimental theater” by the New York Times Waco, Texas-born Robert Wilson has created singular works in the realms of opera, performance, video art, glass, architecture, and furniture design since 1963. Prolific yet exacting in his approach to staging, light, and direction, Wilson has been honored with numerous awards for excellence including a Pulitzer Prize nomination, the Golden Lion of the Venice Biennale, and an Olivier Award. He is also the founding director of The Watermill Center, a laboratory for the arts and humanities in Water Mill, New York.
To find out, I talked with Sarah Cucinella-McDaniel, chief registrar at the Denver Art Museum. She’s sort of like a travel agent for art — and for this exhibition she booked the itineraries for artworks from more than 70 lenders around the world: museums, as well as private collectors. (One of her recent days started unexpectedly, around 1:45 a.m., when one of her nine Monet shipments for the day arrived at the museum hours ahead of schedule.)
and Paris and collected work by artists such as Pablo Picasso, Joan Miró, and Georges Braque. 
Located in Bordeaux’s former submarine base, the BASSINS DE LUMIÈRES will present monumental immersive digital exhibitions devoted to the major artists in the history of art and contemporary art. The submarine base’s surface area is three times the size of that of the Carrières de Lumières in Les Baux-de-Provence and five times that of the Atelier des Lumières in Paris.
