Now in its 20th year, is this modern art mecca spread over more than 200 acres in the Potomac hills a hidden gem?
yes.
But that’s by design.
Glenstone opened as a gallery in Glen Road on September 30, 2006. This was the beginning of an exhibition of founders Mitch and Emily Way Lares’ private collection. But they had a grander vision for how they wanted visitors to immerse themselves in the wonders of the post-World War II era.
The 50,000 square foot pavilion opened in 2018. It reopened in March 2025 after an 18-month renovation. The formidable fortress that appears along the horizon also houses the collections of the Lares family and regular exhibitions by contemporary artists.
But if you’ve visited Glenstone many times, or just heard vague details about it, the word “experience” will come up again and again.
Valentina Nahon, senior director of public engagement, said, “When I looked through the archives for architectural notes, an architect who was part of one of the early design meetings said in his sketch notes, ‘We don’t design a building. We start with an experience.'”
Nahon is an architect by trade and came to Glenstone nearly 14 years ago as a consultant and project manager for the 2018 expansion.
“There has always been a healthy tension between expansion and experience,” Nahon told The Banner. “But what has never changed in my 14 years here is that the vision to create this unique museum experience has been there since I started working here.”
What is the Glenstone Experience?
Glenstone receives more than 100,000 visitors a year, but some are dissatisfied with the experience.
Business hours are limited to Thursday through Sunday. Admission is free, but advance tickets are required in most cases, which go on sale on the 1st of each month. The museum does not allow visitors under the age of 12. Certain groups are guaranteed admission, including students (adults), military, and groups arriving on Montgomery County’s Ride on bus route 301.
Even after obtaining tickets, visitors may be threatened. Workers, mostly dressed in different shades of gray, lead you down various winding paths. The museum prohibits photography in indoor spaces.
Even after many visits over 10 years, I still find parts of Glenstone to look like a slightly more stately Apple Store.
The museum has been trying to shed that reputation well before its major expansion.
A 2008 article in the Washington City Paper describes what it used to be like: “He commented that the increased security made people so nervous that it felt like they were on an art safari and that a lion was about to attack.”
Nahon said he has heard many stories over the years, but emphasized that part of the point is that it is a different kind of museum.
“Our signature experience is known for being uncrowded, meditative, and slow,” Nahon said. “For first-time visitors, it’s in contrast to everything else we’re experiencing in the world right now, right? It’s in contrast to everywhere we go, even other museums.”
What’s inside?
The contrast is perfect for representing the amazing art found at Glenstone.
A museum’s icy exterior can obscure the artist’s joy that exists inside, beckoning visitors to participate in the art. The two exhibits currently on display provide classic examples of the conflict.
Alex da Corte gleefully deploys swirls of fluffy flowers, buzzing neon, and other visual markers of Americana. He crafts a whimsical love letter to childhood, offering a glimpse into the anxieties that lurk beneath the surface of our social constructs.
Andrea Bowers paints a more candid picture of the power and direct action of politics. In one interactive piece, you can sit on a rocking chair and look out the window at the picturesque landscape. After being flooded with art highlighting the struggle for justice, seeing the charred remains of the earth staring back was fitting for this visit. Museum staff conducts controlled burns annually to maintain the native habitat on the grounds.
But Bowers’ research also amplifies closer realities and questions surrounding Glenstone’s future.
Some employees reportedly organized and voted to form a union in June 2024 after a bitter battle with the Rallis. These workers are still negotiating their initial contracts.
Daniel Oseguera, a member of the union’s bargaining committee, told The Banner that Glenstone leadership has not been to the negotiating table since November 4. In a March 19 Instagram post, the union urged Glenstone leadership to meet with workers “especially during the ‘Labour Victory’ (2016) exhibition.”
A Glenstone spokesperson said the museum has complied with all requests for meeting dates from the union and is continuing negotiations in good faith.
In 2025, reports surfaced that the Larees had separated. But Nahon said the status quo has remained the same at Glenstone, where Emily Way Lares is the director and is involved in day-to-day leadership and operations. On this visit, Mitch Lares was seen escorting guests through the pavilion before opening time.
What’s next?
Glenstone doesn’t seem like a place that reminds us of the past. Its mission focuses on the present and future of how art brings communities together.
The celebrations leading up to Glenstone’s anniversary reflect this. The museum is expanding its summer music series and will welcome local musicians to perform pieces inspired by the upcoming America 250 event on Glenstone’s patio on Saturday night.
Nahon said more concrete plans are underway to commemorate Glenstone’s 20th anniversary, including a special committee expected to be announced by the fall. This is all in an effort to become more open and correct misconceptions about the museum’s relationship with its neighbors, both near and far.
“We want people to know. We want everyone to come,” Nahon said. “And when they come, we want them to have this great experience. That’s why.”
Hanna Yasharoff contributed to this article.
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