This is the museum's somewhat cramped lobby.
The architect wanted a tall, thin building. Although this looks quite beautiful on the outside, it makes for limited floor space on the inside.
The orange desk in the middle is used to distribute various flyers and guides on the museum.
Patrons are standing around in the lobby. Typically, some rest is necessary after the harrowing walk from the monorail station through the cathedral where patrons are harrassed by over-zealous church "missionaries."
The second floor houses the sculpture gallery.
On the near right, one can see "Gears and Wooden Wheels" by Plasticine Comprestoria. This work supposedly shows the contrast of modern industrial society (represented by the gears) with a more pastoral, pre-industrial existence (represented by the wooden wheels).
On the left, one can make out a teddy bear projecting from a trash can. Believe it or not, this is a work of art entitled "Don't throw me away." The teddy bear has supposedly been discarded by a child, grown too old to enjoy it any longer. Poor teddy.
In the center rear, one can see a Texan (identified by the cowboy hat) checking out another sculpture entitled "Fire This!" which consists of a pipe spitting four flumes of constant fire. Apparently, this work doesn't represent anything, but the artist thought it looked pretty cool when he took the gas pipe out of his fireplace and hooked it up on the floor. Note: Parents are urged to keep small children away from this area to avoid serious accidents.
The next floor houses the painting gallery.
In the back (center), one can make out a famous painting of a dog entitled "Ceci n'est pas un chien" ("This is not a dog") by LeGO Magritte. Supposedly, the idea is that it is a painting (of a dog), not a dog (i.e. in the flesh).
The next floor houses various special exhibits.
This month, it showcases a combination of works by Blockenschmer Guerheim called "Aliens - Foreign Species or a Reflection of Ourselves?" Here, the artist contributes a series of sculptures based on popular alien abduction accounts. Descriptions under the figures point out curious anatomical similarities between these "aliens" and standard minifigs. Some might say that this must be because such aliens and humans were spawned by a common creator. The artist argues that another possibility is that such "aliens" are possibly human inventions based on our deepest desires not to be alone in the universe.
On the top floor of the building are the administration offices.
Here, the Getty executive ponders how he is going to continue spending all the money he has. With so much money, the associated investments generate more money every day. If the money supply gets too high, the government will revoke their tax-exempt status.
In an effort to spend the money, the executive is constantly searching for more art to acquire. In one embarrassing scandal, the organization paid $5 million for a painting from a previously unknown artist. It was subsequently revealed that the work was the product of a finger-painting exercise in a kindergarden class. After much political negotiations, the money and the "art" was returned back to the original parties.
