Los Angeles, CA – In a significant cultural moment for Southern California, the new David Geffen Galleries building at the Los Angeles County Museum of Art (LACMA) hosted its inaugural public event on Thursday night, June 26, 2025. This highly anticipated preview featured an extraordinary performance led by acclaimed jazz saxophonist Kamasi Washington, joined by over a hundred musicians, transforming the still-empty architectural shell into a dynamic sonic landscape.
A Unique Architectural and Musical Fusion
The event marked the first opportunity for arts and civic leaders to experience the interior of the Peter Zumthor-designed structure, a sprawling, 900-foot serpentine route of concrete and glass that stretches across Wilshire Boulevard. Rather than a traditional concert setting, Washington and his expansive ensemble utilized the building itself as an instrument and a canvas. Spread across nine distinct groups positioned along the lengthy, winding path of the galleries-to-be, the musicians created a massive sonic event that enveloped attendees as they moved through the space.
The performance was designed to interact directly with the unique acoustics and scale of the still-empty building. The absence of exhibition walls or installed art allowed sound to travel and resonate in ways that will not be possible once the galleries are populated. This deliberate use of the building’s current state offered a fleeting, unique experience, highlighting the raw, impressive volume of Zumthor’s design even before it begins its function as a home for art.
Echoes of Museum History
This unique celebration, the first of three preview nights planned for the David Geffen Galleries, was consciously curated to echo a historical moment from the museum’s past. Exactly 60 years prior, on March 26, 1965, a Monday Evening Concerts program presented a performance that similarly inaugurated a new space within LACMA’s original galleries. That historic event featured the esteemed conductor Pierre Boulez leading the premiere of his own composition, “Éclat,” which marked the opening of the Leo S. Bing Theatre.
The parallel is striking: both events utilized contemporary music and prominent figures in the field to consecrate a new physical space within the museum complex. The 1965 premiere by Boulez was a pivotal moment for contemporary classical music in Los Angeles, just as Washington’s performance now stands as a significant opening note for the next chapter of LACMA’s architectural and cultural life. This historical resonance adds layers of meaning to the 2025 preview, connecting the museum’s past achievements with its future aspirations.
The David Geffen Galleries: A Glimpse Inside
The David Geffen Galleries building, though not yet fully prepared for exhibitions, was the star of the evening alongside the music. Peter Zumthor’s vision, characterized by its elevated position and fluid, bridge-like form spanning over the street, is set to redefine the LACMA campus. The 900-foot serpentine route experienced by attendees during Washington’s performance gives a clear sense of the scale and flow of the future exhibition spaces. Witnessing the structure in its vast, unobstructed state provided a unique perspective on the architecture itself before it is activated by art and visitors in its standard operational mode.
Related Cultural Offerings
While the focus of the evening was the performance within the new David Geffen Galleries, it is worth noting a related exhibition currently engaging with the rich cultural tapestry of Los Angeles. The exhibition, titled ‘A Great Day in East L.A.: Celebrando the Eastside Sound,’ is presently running at LA Plaza de Cultura y Artes. This separate but complementary presentation highlights the vibrant musical heritage of the Eastside community and runs from June 28, 2025, to August 23, 2026, offering another facet of the region’s diverse artistic landscape.
Conclusion
Kamasi Washington’s performance within the still-empty David Geffen Galleries served as far more than just a musical set; it was a site-specific installation, a public unveiling, and a historical callback all at once. By filling the 900-foot serpentine route of Peter Zumthor’s structure with the collective sound of over a hundred musicians, led by Washington’s distinctive voice, LACMA has orchestrated a memorable prelude to the building’s official opening. This first public event provided arts and civic leaders with a powerful, visceral connection to the new architecture, setting a high note for the future of the Los Angeles County Museum of Art.