We open in just nine days and everything is falling into place. Look behind the scenes at final artwork installations and finishing touches.

Yesterday, when Smithsonian Secretary Larry Small pronounced Patty Collette’s winning entry a “spectacular creation,” he wasn’t referring to a contest in a medium commonly associated with the visual arts. This was a battle among cakes. Three prominent pastry chefs were invited to the Donald W. Reynolds Center for American Art and Portraiture to create cakes inspired by the design of the historic building, in celebration of our grand opening July 1st.

Born in El Paso and an alumnus of the University of Texas at Austin, Jiménez made sculpture that coupled a Pop medium (fiberglass) with traditional Southwestern themes. His work drew from the cultural poles of Mexico City and New York City, both places where he worked and studied, and he was greatly influenced by public artists such as Mexican muralist José Clemente Orozco. The artist sought to bring Native American, Mexican, and Chicano figures to the fore in works that pay heed to classical sculptural values.

Down the hall from my office is a room full of highly detailed scale models of every SAAM gallery in the museum. The models began taking shape two summers ago.

On Thursday, SAAM preparators reinstalled Luis Jiménez’s Vaquero at the north entrance of the building.

Luis was a close friend to many people here at SAAM and his Vaquero, long installed at our north entrance, is a symbol of the museum.

We open in 18 days.

Somebody was working on Nam June Paik's Electronic Superhighway: Continental U.S., Alaska, Hawaii yesterday. Those are sections of the lower Mississippi river attached to the gray plywood crate on the floor.

In your hurry to cut out of work early before Memorial Day, fill up the cooler, and head toward sunnier climes, you might have missed the news about the rather extraordinary sale of Maxfield Parrish’s Daybreak at Christie’s Important American Paintings, Drawings, and Sculpture auction.

The last time I looked around the first floor this room was empty and dark. Now the lights are up and these little tykes have rolled in.

What can paint on canvas do better than a photograph?

A few weeks ago, I wrote about a special project here at SAAM in which Advanced Placement Art History students from the Holton-Arms and Landon Schools here in Washington, D.C. visited our Renwick Gallery of American Craft. Their assignment was to research one of our artworks and produce a podcast about the piece they chose.

Earlier this month we announced our new kids’ Web site, Meet Me at Midnight, with a nine-year-old’s impressions.

One fine, crisp morning last week, as you were comfy at home reading Time Magazine’s feature on architect Sir Norman Foster, I was outside the museum in my hard hat and steel-toed boots shivering through a stakeout of our own Foster project.

“Pushing out my old large-format camera’s focal length to twice-infinity,” Hiroshi Sugimoto writes, ". . . I discovered that superlative architecture survives the onslaught of blurred photography.”

Last month I picked up on an item from the American Art collection highlighted by MAN-scribe Tyler Green: a curious painting of an electric chair by Pop confection artist Wayne Thiebaud. As it happens, I’ve been thinking about Thiebaud since I attended the Nova Art Fair in Chicago, where a number of artworks referenced him directly, and more did so inadvertently. He seems to be on a lot of artists’ radar.

Today we are launching Meet Me at Midnight, an interactive art mystery Web site for kids. It's perfect for eight- to ten-year-olds and is meant to be a fun intro to visiting the museum and seeing some cool artwork. Of course, we hope to teach a little something along the way.

Last week Kriston posted his impressions of the newly renovated Old Patent Office building which will house SAAM and the National Portrait Gallery come July 1.