Entering the austere confines of the Dia Beacon, I am met with a sense of solemn anticipation rather than jubilance excitement. The building, once a bastion of industrial history, now stands as a stoic sentinel, guarding the treasures of contemporary art.

But to better appreciate the art it holds, one must understand the museum’s surroundings and history.

The City of Beacon

Amidst the picturesque embrace of the Hudson Valley, the city of Beacon stands as a testament to the transformative power of art amidst the remnants of its industrial past.

The name “Beacon” was derived from the signal fires used during the Revolutionary War atop the 1,540-foot mountain that stands as the city’s backdrop. During the 1800s, Beacon became known as “The Hat-Making Capital of the U.S.” because of the 50+ hat factories spread throughout its grounds. The weathered facades of these old factories and warehouses now serve as canvases for local artists, their murals putting a modern touch on its commercial history.

Wandering along Main Street, the eclectic mix of shops and galleries beckons with promises of hidden treasures waiting to be discovered. From quaint boutiques showcasing handmade crafts to cozy cafes offering a taste of local flavors, Beacon appears as the quintessential “small town.”

But beyond its role as a cultural destination, Beacon embodies a spirit of resilience and reinvention. It is a place where art flourishes amidst the ruins of industry and the soul of a community finds expression in every stroke of the brush and every beat of the heart.

The Dia Beacon

At the heart of the city lies the Dia Beacon Museum, a contemporary art collection housed within the walls of a former Nabisco box-printing factory. The historic steel, concrete, and glass factory building, designed by Nabisco’s architect Louis N. Wirshing, Jr., is a model of early twentieth-century industrial architecture. Design elements that advanced factory work, like rows of skylights and broad spans between supporting columns, also create a unique environment for viewing the art. Most of the wood floor was untouched by the museum, so scratches, dents and other leftover marks from the factory machinery are all still visible.

In the setting of a “run-down” building like this, it is easier to appreciate the art. It makes the pieces feel real, as if they were born out of the rawness of the Earth.

Moreover, the museum’s presence has played a transformative role in Beacon’s ongoing revitalization efforts, catalyzing economic growth and cultural development in the region. By drawing in over 68,000 visitors per year from near and far to experience its world-class exhibitions and educational programs, the museum has helped to put the city on the map as a destination for art lovers and cultural enthusiasts alike. This influx of tourism has not only bolstered the local economy but has also created opportunities for collaboration and cross-pollination between the museum and Beacon’s arts community.

In turn, Beacon’s artistic vitality serves as a source of inspiration and engagement for the Dia Beacon, informing its curatorial decisions and outreach initiatives. The museum actively collaborates with local artists, cultural organizations, and community stakeholders to ensure that  programming reflects the diversity and dynamism of the city itself. From artist-led workshops and performances to community-driven exhibitions and events, the museum is for the people.

Ultimately, the relationship between the Dia Beacon and the city of Beacon is one of mutual enrichment and collaboration. As Beacon continues to evolve as a cultural destination, so too does the Dia. In this way, the museum serves not only as a display of artistic excellence but also as a reflection of the spirit of the city it calls home.

Spring Exhibits

The Dia Beacon has a plethora of long-term exhibits that stay for years at a time, all year round. Richard Serra’s Ellipses or Dan Flavin’s Fluorescent Tube pieces are some of the Dia’s most notable permanent exhibits.

The building is a maze of rooms, an echo of its function as a factory. Tucked behind the Warhol, Nengudi, and Irwin exhibits is Felix Gonzalez-Torres’s “Untitled” (Loverboy), the new 2024 spring exhibition.

The area is a long runway of open space with light wood floors and a warm white ceiling of exposed beams and rows of skylights. On the long side of the room is a long brick wall, authentic to the original factory. Along the wall are big, square windows made up of little panes of glass that fill the majority of the wall. Falling across these windows is the artwork.

Consisting of sliding, sheer, light-blue curtains, each set completely covers a window, all except the one in the middle. The center window lets beams of light in, welcoming visitors into the exhibit as it stands opposite to the rooms’ opening.

The space exudes a sense of brightness with the light colored walls and amount of light from the windows and the skylights combined. The pleated curtains that pool at the floor add to the sense of softness against the harsh bricks.

The curtains are just sheer enough to produce a warm blue glow, but not enough to be able to distinguish the shapes of the trees the curtains conceal. In this way, Gonzalez-Torres plays with themes of opacity versus transparency, which is amplified by the backdrop of the museum.

Curious about others’ opinions, I went around the room asking a couple visitors the same question: “Do you like this piece?” While a simple question, it provoked a drastic array of responses.

The first person I spoke to was very quick to answer. “I don’t think I do. I see blue curtains that aren’t even patterned enough to make me want them in my own house.” I asked her why she visited if she knew she wouldn’t like the modern pieces displayed. “I think it is because I want to still be exposed to all kinds of art, even art I know going in I might not like,” she responded.

She then explained how exposing oneself to all forms of art is a good way of keeping an open mind and broadening perspectives. “These blue curtains may not mean much to me, but they do to the artist. So who am I to judge?”

The other visitors I asked had opposite opinions. Thomas, who described himself as a modern art enthusiast, went into detail about his appreciation for the piece. “The way the light fills the room, both from the skylight and the windows, add to the sense of wonder here. The building and the art are working together to create the message.” He went on to describe this continuity among all the exhibitions in the museum. “Each exhibit seems like it’s tailored to its room, each piece to its wall. That’s why I love it here.”

The Dia Beacon is not a place for art to simply be hung and observed; the museum adds to the themes of the art and the experience that goes along with it. In many ways, the museum alone is art with all of the history that went into it. I strongly recommend visiting the Dia Beacon, especially their new spring exhibit “Untitled” (Loverboy) by Felix Gonzalez-Torres which is open until the spring of 2025.

Entering the austere confines of the Dia Beacon, I am met with a sense of solemn anticipation rather than jubilance excitement. The building, once a bastion of industrial history, now stands as a stoic sentinel, guarding the treasures of contemporary art.