Lou Pizante

Museum of Ice Cream breaks down the usual family hierarchies and invites the same level of silliness from everyone Image courtesy of Lou Pizante Much of the experience economy is engaged in the same quiet work, loosening the rules people carry with them. The product is not simply spectacle. It is a temporary exemption from the narrow band of conduct that adulthood has approved and insurance has blessed.

Before I had seen a single image, I was given two devices. One rested across my shoulders like a small yoke. Refik explained it matter-of-factly: the device would release scents as I moved through the galleries. Twelve rainforest-inspired fragrances, developed in collaboration with L'Oréal Luxe from Refik Anadol Studio's Large Nature Model—an AI trained not on human language or internet text, but exclusively on nature. The second was a small biometric device fastened around my wrist.

While much of the twentieth century was busy hanging pictures on walls and asking people to admire them from a respectful distance, Julio Le Parc looked at the whole arrangement and decided it seemed unnecessarily sedentary. He filled rooms with reflections, movement, color, and uncertainty—artworks that behaved less like objects and more like weather systems, turning ordinary museumgoers into explorers wandering through storms of light. Le Parc died on 30 May 2026, at 97.