Once hidden galleries can now be found; Rothko Pavillion presents a new way to see what was already there. by Suzette Smith "We always want to respect our donors," says Julia Dolan, Portland Art Museum (PAM)'s senior photography cur ator. "But we're trying to orient directionally." Dolan was leading a tour group through the new Rothko Pavilion, walking us into the north wing, which happens to house the now more accessible rooms dedicated to photography. Like several of the museum's other areas, PAM's photo collections have been packed away for much of the four-year construction project to connect the institution's two major buildings.  Before the pavilion, we called the hulking, former Masonic Temple of Roman brick and terracotta the Mark Building and the museum's original structure the Beluschi Building, after its designer Pietro Beluschi. New museum maps now orient visitors through five floors of exhibitions—traversable by four elevators—in PAM's north and south wings. Even ingenue edifice the Rothko Pavilion is labeled simply "pavilion."  Reopened to near full capacity on November 20, PAM is as grand and stately as it has ever been. The triumph of this redesign is that more visitors can now see in, venture inside, and use the museum. And PAM wants to be used. From the edges of the building's stairs—a contrasting white on grey for low vision visitors—to the abundant seating, signage, accessible and all-gender restrooms, even the outside walkway connecting SW 10th to the park blocks, et al., the process of making PAM whole was about making it easy to use and enjoy.  Wally Dion "Green Star Quit" on the pavilion's second floor. Suzette Smith  Julie Buffalohead's "The Nourished" on the wall of the Native American Art galleries. SUZETTE SMITH "These galleries were a little bit hard to find, if you didn't know where they were," said senior curator Kathleen Ash-Milby of the museum's Native American Art galleries. The rooms are in essentially the same spot, but now the Rothko Pavilion connects across all the museum's floors, so Native American Art is actually central to the second and third levels. Both levels step down from the main passage, so an adjacent elevator opens on 2-R and 3-R, respectively, easing entrance into the spaces. Currently on view, Shifting the Narrative: 21st Century Acquisitions showcases pieces from PAM's collections made by Native American artists since the year 2000. "For people who are data geeks" the gallery also features an infographic that shows how specific works came to the collection. Another chart traces the gallery's exhibitions program. "I was really surprised to learn what the museum was doing in the '80s and '90s," Ash-Milby said. "[PAM] hosted some really important, pivotal contemporary Native American art exhibitions, including Women of Sweetgrass, Cedar, and Sage. That's a really important exhibition; I couldn't believe it was here." The museum's multiple elevators help with bottlenecks and future maintenance. Notably, elevators A and B are meant to help visitors hop the pedestrian tunnel incorporated into the pavilion's design. In a preview piece about the Rothko Pavilion opening, published in our Fall Arts Issue, Joe Streckert explained: Initial plans for the pavilion stirred up controversy. The city has allowed PAM to build on and use a segment of SW Madison since 1968, provided that the museum maintains an easement that lets pedestrians and bicyclists pass through freely. However, a 2016 design of the Rothko did not include that easement. The public would have been able to move through an open area during the museum’s business hours, but wouldn’t have had 24-hour access. The art museum altered Rothko pavilion's original design to include a glass-paned pedestrian tunnel, illuminated by the museum's own lighting and art. As a consequence, Black Art Experiences, which is located up and then down a flight of stairs or up elevator B and down elevator A, feels both a little hidden and on display, because it's the gallery most visible from the public walkway. PAM's Black Art Experiences gallery may be the best example currently of how the museum wants to be used: It can be partially viewed from outside. Right now, those passing through can see a large portion of Lisa Jarrett's "Tenderhead" at all hours. Further in, you'll find an in-progress series of "ephemeral activations" by Black artists called Conductions: Black Imaginings II, which might—depending on when you go—have either a performance on display or what is left from the artists afterward. "If you look over here, it's quite empty, and that's on purpose," says Jaleesa Johnston, Head of Public Programs and Engagement. "It's because the show is cumulative." The series is thus far scheduled to unfold into January, February, and March 2026. Furniture assembled for viewers of Mickalene Thomas' video installation. Suzette Smith Then, near the back of Black Art Experiences gallery, a video work interacts with visitors in a totally different way.  Presented in a darkened room, before a salon-like assemblage of furniture, Mickalene Thomas' video Do I Look Like a Lady? (Comedians and Singers) traverses portrayals of femme African-American stars in media. One could imagine visitors to this gallery as uninitiated observers to participatory audience to learners and contemplators—each interaction with the works making them enmeshed with the art in different ways. The common concept of what you expect to find in "a gallery" is 1) painting 2) in a frame 3) on a wall. That's not bad, but art can be more; PAM has a long history of presenting work for a variety of audiences, and its exciting to see them continue to pursue it. The Art of Mark Rothko in the Modern Art galleries on the fourth floor. Suzette Smith Early object and figure works in The Art of Mark Rothko. Suzette Smith Another room that is somewhat hidden away from the rest of the museum is the Art of Mark Rothko, in the Modern Art galleries on the fourth floor. While the new pavilion is named for the abstract painter, there's far too much light in its windowed halls to make it a viable location to show his work. The Rothkos are hung in a slightly dim contemplative space, haloed in spotlights. An unconventional partnership with Rothko's family will see them loan the museum several pieces over the course of the next 20 years, periodically switching up works on display. Currently, visitors can also see early object and figure works from the self-taught painter. Jeffery Gibson piece on the fourth floor of the Rothko Pavilion; First Congregational clock tower behind.  Suzette Smith Just outside the Rothko installation, the pavilion's fourth floor hall exemplifies another aspect of the museum's redesign: Considerations of PAM's own placement in its neighborhood. Intentional sight lines flow to the Gothic clock tower of First Congregational United Church of Christ, across the park blocks. Since the installation of one of Ugo Rondinone's the sun sculptures, on SW 10th, presents a symbolic pull on the museum's entrance to the west, it's nice to see a balance of thought still turned towards the park blocks. On the pavilion's second floor there's a covered terrace, perfect for Portland's annual rain forecast. "When all of the leaves drop, you can see all the way to the Hawthorne Bridge," Dolan said. PAM is open on Tuesdays now, which marks the first time since 2020's pandemic shutdown that the museum will be open six days a week. And while admission is $27.50 for adults—with free entry for children and a variety of other reduced rates—this is the first time since the construction closure it feels like you actually get at least $27.50 worth of museum to peruse.           View this post on Instagram                       A post shared by Portland Mercury (@portlandmercury) Portland Art Museum, 1219 SW Park, Tues-Sun, 10 am-5 pm, more info at portlandartmuseum.org ...read more read less