The main entry, like the narrow windows created by the folding of the tombasil panels, is perpendicular to the street, hidden behind the facade. A 23-foot high lobby confronts the visitor, natural light filtered from the skylight at the top of the building, down through narrow openings at each floor. Immediately the visitor is given a means of orientation through the building, a frame of reference. A mezzanine spatially separates the lobby from the tall first floor gallery beyond, hinting at the voyeuristic aspects of the building as eyes above meet the gaze of visitors entering the museum. After purchasing tickets, one is immediately faced with multiple possibilities for moving through the building: take the elevator to the fifth floor and walk down, or walk up the stairs adjacent to the first floor gallery. Once upstairs it is apparent the museum was thought of as a house for art, both in its intimate scale and its circulation, the latter modeled on a house with main and ancillary vertical circulation. The analogy of a house for art is appropriate in a museum devoted to folk art, an art form suited to notions of comfort and domesticity. Folk Art Museum.............New York City