The Princeton University Art Museum (PUAM) reopened to the public on Friday, marking the end of an almost six-year closure and the debut of its striking new home. The museum’s previous building, last significantly renovated in 1969, was demolished in 2021 to make way for a 146,000-square-foot complex designed by Adjaye Associates.

Walking through Princeton’s leafy, historic campus toward the museum evokes the classic collegiate atmosphere the Ivy League is known for. That impression shifts quickly upon arriving at the new PUAM. With its nine interlocking modernist pavilions rendered in stone aggregate, the building stands in dramatic contrast to the university’s traditional architecture—impossible to ignore, boldly contemporary, even imposing at first glance. Descending into the building’s core, a towering 40-foot mosaic by artist Nick Cave, inspired by his signature “Soundsuits,” greets visitors in vivid color, though it does little to soften the initial sense of solemnity.

The building’s development was not without controversy. In 2023, while construction was well underway, sexual misconduct allegations surfaced against David Adjaye, principal of Adjaye Associates. Though he denied the claims, Adjaye withdrew from multiple projects, including PUAM. Museum leaders briefly acknowledged the situation during a preview event ahead of reopening.

Despite a somewhat stark first impression, the museum reveals warmth and intention the longer one spends inside. Four entrances allow visitors to approach from any direction on campus, underscoring PUAM’s mission of openness and accessibility. Within ten minutes, any student can reach the museum from their residence hall—a symbolic and practical statement of cultural inclusion.

Although significantly larger, the museum never feels overwhelming. Its collection—one of the oldest in the United States and now presenting around 2,000 works—has been installed with a sense of closeness and contemplation. The design features two internal “artwalks” that connect the length of the building. At the center lies a flexible open hall, typically furnished with couches and seating but easily reconfigured into a lecture or performance venue with retractable seating and privacy panels.

From the artwalks, visitors peer into three stories of shelving displaying works that span centuries and cultures. Highlights include a 1958 abstract painting by alumnus Frank Stella, placed not far from a Roman mosaic excavated by Princeton archaeologists in Türkiye in the 1930s.

Curatorial choices throughout favor unexpected pairings and cross-historical dialogue. Andy Warhol’s Blue Marilyn (1962) hangs beside Giovanni di Tano Fei’s late-14th-century Virgin and Child, provoking reflections on image, devotion, and cultural iconography across eras. Elsewhere, Titus Kaphar’s To Be Sold (2018) is shown alongside Charles Wilson Peale’s portrait of George Washington and a Kongo power figure, creating a layered narrative about identity, power, and representation.

Positioned between New York and Philadelphia, Princeton’s revitalized museum now has the scale and presence to match its academic ambition and community mission. What begins as a stark architectural statement blossoms into an engaging and human space—designed not merely to house art, but to invite conversation, curiosity, and connection.