The Massachusetts Museum of Contemporary Art could take days to thoroughly traverse. On the way in, there is an installation by Natalia Jeremijenko where she planted six trees upside-down, suspended in the air. At first one might think this cruel, as the plants awkwardly contort out of direction, contemplating both their gravity and sunlight. It surprised me to hear, though, that in the six years that the first trees existed in this condition (they've been taken out and planted somewhere else upright, and replaced), the upwardly-planted tree next to them was replaced three times.

The playfulness of the galleries is exemplified in the Kidspace area, with works made of candy and other delectables, and in what I like to call the "fabric hallway." This is an installation by Fransje Killaars with stripes of different fabrics going across the distance.
Sol Lewitt's retrospective is not only expansive and overpowering, but is ripe for many a photoshoot, with its astounding color and massive scales. With 105 murals over three floors, one can sort through the library of ideas that Lewitt conceived of to be made.

There is an installation of Anselm Kiefer, with his post-war painterly wall-hangings and a massive wave-like concrete sculpture. There are many of Guy Ben-Ner's jesting films, most of which include his children. Iñigo Manglano-Ovalle installed a completely upside-down house in the large gallery, entitled Gravity is a Force to Be Reckoned With. There are curated exhibitions, like Elegies of Modern Times, which includes Sam Taylor-Wood's time lapse film "These Days: A Little Death", depicting a dead hare slowly rotting away.
And so on and so forth.