When the National Museum of American History reopens, it may begin to shed its reputation as one of the more cramped and confounding corners of the Smithsonian Institution.
The central predicament of “It’s a Wonderful Life,” with its eerie prefigurement of the present, provokes a closer look at the crossroads in which culture and finance intersect.
If the End of Days were going to be portrayed in a museum exhibition, it might look like the array of natural disasters that can be found at “Climate Change” at the American Museum of Natural History.
Go see these six encased bits of ancient text at the Jewish Museum’s new exhibition, “The Dead Sea Scrolls: Mysteries of the Ancient World,” before it closes on Jan. 4.
The problem with “Homeland” and “Die Soldaten,” two productions at this year’s Lincoln Center Festival, is that they mistake the struggle for the threat itself.
Arthur C. Clarke’s science fiction was religious in the largest sense of religion: speculating about beginnings and endings, and how we get from one to the other.