In the Rijksmuseum, the state museum, a large and imposing institution, you wander aimless. You look at a painting. The placard says the painting is a satire on the political and social events of the era of the 1500s. The building is under reconstruction. In the modern wing there is a sofa constructed to resemble a vagina. Rooms are blocked out and blocked off. A line of people filter into a darkened room. You move to follow them into the darkness. A man chases after you, shouting. You do not understand and disregard. Forward. The man switches from language to language. Exasperated he says, “You have to wait, people go in by group.”
“OK,” you say.
A line of strangers forms behind you. Mostly a Chinese delegation. After a while, your new group is allowed to enter the room.
It is dark. People amass around a form in the center. A spotlight illuminates from above. The light shines down to a glass case in the center of the dark room. Inside, a human skull encrusted with jewels sparkles slightly, reflecting the artificial.
“That’s IT?” gasped a disappointed voice in the dark. The piece is called, “For The Love of God.”
