I have enjoyed museums for a number of years now.  When I lived 
in a town with the greatest density and quality of museums in the United 
States, New York City, I feel I was too young to appreciate and truly enjoy 
what resources, stimulations, and fulfillments I had at my nearest grasp.  
What can one expect from a five- or six-year old, with millions of people, 
alive, bustling about, buildings of diamond and silver shooting like rockets 
out of the ground, brushing blue onto their topmost edges, yellow taxi-
cabs honking and squealing and squelching, suggestive of a chorus of 
mechanical sea-lions, their respective drivers yelling foreign verbiage at 
one another.  In such a circumstance, at such an age and attention level, 
what are flat, static, plexiglass-enclosed pictures and artifacts in large, 
stuffy monuments to classical architecture?  We can see things moving, 
speaking, playing, living.  I might see a picture by some Piet Mondrian, or 
another of his contemporaries; I could think: lines! blocks of color! 
geometry! looks like what we did in class last thursday!  Was it not 
appreciation, but rather a different appreciation?  It matters little, as it did 
not interest me, to a great degree, as did other things in the fresh air.
	Those days are passed.  Of course, I do not now have the key to the 
true wonder of all displayed pieces in all museums, but they certainly do 
hold a greater fascination factor than they did before.  I now flourish 
within a quality museum.  Certainly there are high and low quality 
museums, just like anything else.  We live in a world of value (relative or 
not, a question for another inquiry), and as with everything else, museums 
that I've been to fall onto varying regions of the quality spectrum.  I am 
not sure what factors are involved in a crummy gallery of exhibits in 
comparison to those in a spectacular one; the comparison seems 
subconscious.  Regardless of the quality involved, or perhaps in spite of it, 
great buildings filled to the brim with artifacts honoring the imagination,

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