I just returned from the Henry Art Gallery's opening party for the exhibition Adaptation, and it made me realize something: One of the reasons I love museums so much is that they are constantly rearranging their rooms. It's like a big game of interior-architecture charades in there.

Building and tearing down walls is expensive, so they don't do it all the time (some museums hardly do it at all), and the Henry, to save money, hasn't done it in a while. But when you walk into Adaptation, you notice it immediately (along with the soft, slightly harem-like fabric—that is a compliment—between rooms). Because this show is a bunch of videos, the museum itself had to adapt.

There are endless ways to show video, and the Henry has a bunch. There's the video-like-a-painting-on-the-wall approach, seen at the entrance to the show:

Not too exciting. There's the mirror-cinema-with-bench-in-center approach, seen (one half of it, anyway) in the next work you come across:

Also not the most thrilling. But then there is the heretofore unheard-of drive-in-movie-with-fake-lawn-and-hill-and-tree-indoors approach! (Credit for this one must be given to the artist, Guy Ben-Ner, because the presentation is part of the work.) This is two views of it, from behind the "hill" and and from the balcony above.

And THEN, in the way back of the museum, there's an enclosed multiplex with surround sound! It even has those rectangular panels on the walls. In this place it was impossible to take pictures because everyone was very quiet and rapt. But here is a still from the 87-minute film they were watching, Eve Sussman's Rape of the Sabine Women.