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New Sauropod Dinosaur Species Discovered in Museum Collection

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Fossil brain box and partial skull roof Carnegie Museum of Natural History. This specimen underwent reevaluation and was reclassified, resulting in the establishment of a new genus and species of sauropod dinosaur from the Dicraeosauridae family: athena bellmani.

Holotype brain case of athena bellmani. Image credit: Whitlock et al., doi: 10.26879/1550.

The dinosaur athena bellmani inhabited what is now Utah, USA, during the Late Jurassic Period, approximately 151 to 150 million years ago.

This specimen, designated Carnegie Museum (CM) Specimen 26552, was first discovered in 1913 in the Morrison Formation at the Carnegie Quarry in Dinosaur National Monument.

So far, the specimens have been assigned to a genus of sauropod dinosaurs known as diplodocus.

Dr. John Whitlock, a researcher at Mount Aloysius College and the Carnegie Museum of Natural History, commented, “The Carnegie Museum of Natural History contains some of the most significant specimens for understanding the cranial anatomy of diplodocoid sauropods.”

“One specimen, CM 26552, is frequently overlooked in favor of a more complete skull; however, it holds immense historical significance as it provided the foundation for modern descriptions of brain case anatomy in the diplodocus genus.”

“In view of new discoveries since its initial description in 1978, we are reassessing the anatomical and taxonomic relationships of this specimen.”

The new analysis indicates that CM 26552’s characteristics align more closely with another group of sauropods, the Dicraeosauridae.

“CM 26552 showcases mosaic features that distinctly separate it from other known North American dicraeosaur species,” the paleontologists noted.

“Based on this evidence, we are assigning CM 26552 to a new genus: athena, with the specific name bellmani.”

Research has also revealed that athena bellmani is closely related to dicraeosaurids like Swasea.

The researchers stated, “Considering CM 26552 as a new species of Dicraeosaurina enhances our understanding of this family’s diversity in the Morrison Formation and North America broadly, thus enriching the historically underrepresented sauropod diversity of this region.”

The findings have been published in an online journal this month: Old Trogia Electronica.

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John A. Whitlock et al. 2025. athena bellmani, a new species of dicraeosaur sauropod discovered from Dinosaur National Monument in Utah, USA. Old Trogia Electronica 28 (3): a50; doi: 10.26879/1550

Source: www.sci.news

Fossils from the Early Cretaceous Period at the Swiss Museum

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Paleontologists have identified a new species within the extinct turtle genus Craspedochelys, based on some remarkable fossil shells and subsequent bones discovered in Colombia.

Artistic reconstruction of Craspedochelys Renzi and the shallow marine ecosystem it inhabited. The flip-like shape of the forelimbs is inspired by the most complete known specimen of Thalassemys bruntrutana. Image credit: Juan Guilard.

Craspedochelys Renzi thrived during the early Cretaceous Hauterivian period, approximately 132 to 125 million years ago.

This ancient species belonged to the Thalassocheridia, a group of marine-adapted turtles from the Jurassic and Cretaceous eras.

“Throughout their evolutionary journey, various unrelated turtle groups have developed adaptations for marine and coastal habitats,” says Dr. Edwin Alberto Cadena, a paleontologist at the Smithsonian Tropical Research Institute of Natural History.

“One such group is the Thalassocheridia, traditionally classified into three Jurassic families: Eurysternidae, Plesiochelyidae, and Thalassemydidae, which have complex and often debated phylogenetic relationships.”

“Among these families, the ‘Plesiochelyidae’ is particularly diverse, encompassing at least ten species across four different genera: Craspedochelys, Plesiochelys, Portlandomys, and Tropidemys.”

“The shells of ‘Plesiochelyids’ can be distinguished from other thalassocheridians by their large size (40-55 cm in shell length), with adults lacking the thyroid cortex of the hanging skin, typically displaying only a thick layer of fontanel in the center.”

Craspedochelys Renzi is characterized by a distinct shell featuring several occipital bones. Image credits: Cadena et al. , doi: 10.1186/s13358-025-00394-1.

The fossil specimen of Craspedochelys Renzi was first discovered by Swiss geologist Otto Lenz during a field expedition in the Cunja de Cuisa region of Guazila Province, Colombia, in the 1950s.

This specimen included partial shells measuring 25.5 cm long and 23.1 cm wide, along with hind limb bones and caudal vertebrae.

It was later stored in the paleontological collection of the Naturhistorisches Museum Basel in Switzerland, where it remained unnoticed for over 60 years among the fossil invertebrate collection.

“Geological evidence connects these specimens to shallow marine sediments from the Moina Formation, dating to the Hauterivian,” the paleontologist explained.

This fossil represents the youngest known occurrence of Thalassocheridians globally during the Hauterivian, and it is the second record from a non-European group.

“The discovery of Craspedochelys Renzi will greatly enhance our understanding of Thalassocheridians, particularly the ‘Plesiochelyidae’, expanding their geographical range to North Gondwana and temporal range to the Hauterivian,” the researchers stated.

“This find underlines the significance of reevaluating historical collections and the potential for future discoveries in less explored areas such as northern South America.”

“The existence of Craspedochelys Renzi in the Moina Formation further underscores the intricate paleobiogeographic history of early Cretaceous coastal habitats and marine turtles.”

“It also offers new perspectives on the evolutionary dynamics of Thalassocheridia and the still unresolved, unstable phylogenetic relationships within the group, which necessitates further detailed investigation in future research.”

The discovery of Craspedochelys Renzi is discussed in a paper published in the Swiss Journal of Palaeontology.

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ea. Cadena et al. 2025. The first occurrence of the “Plesiochelyidae” turtle in the early Cretaceous period of South America. Swiss J Palaeontol 144, 52; doi:10.1186/s13358-025-00394-1

Source: www.sci.news

Denverdino Museum Discovered Beneath Your Parking Lot

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Denver – The Denver Museum, famous for its dinosaur exhibits, has unearthed fossil bones right beneath its parking lot, bringing paleontological discoveries closer to home than many anticipated.

This find originated from a drilling operation that reached over 750 feet (230 meters) deep to explore geothermal heating options at the Denver Museum of Natural Sciences.

The museum is a favorite among dinosaur lovers of all ages, where full-sized dinosaur skeletons astonish children who can barely reach their parents’ knees, especially the mighty Tyrannosaurus.

Ornithopod vertebrae discovered at a depth of 763 feet in the core excavation at City Park, located within the parking lot of the Denver Museum of Natural Sciences.
Richard M Wicker/Video Denver Natural Museum AP

While this latest find may not be visually striking, the likelihood of discovering a fossil sample shaped like a hockey puck is notably low.

Museum representatives highlighted the rarity of encountering dinosaur remains, even in localized areas with a modest width of just a few inches (5 cm).

“Finding dinosaur bones in the core is akin to drilling into one of the moons. It’s like winning the Willy Wonka Factory. It’s extraordinarily uncommon,” noted James Hagerdorn, the museum’s geology curator.

Geologist James Haggadawn closing a box of core sample locks at the Denver Museum of Natural Sciences on July 9th.
Thomas Paypert / AP

Museum officials mentioned that only two similar discoveries have been documented in borehole samples globally, let alone on the grounds of a dinosaur museum.

These vertebrae are believed to come from small, herbivorous dinosaurs that thrived during the late Cretaceous period, approximately 67.5 million years ago, shortly before the asteroid impacts that led to their extinction.

Fossilized plant materials were also uncovered in the vicinity of the bone.

“The animal inhabited a wetland ecosystem that was likely lush with vegetation at that time,” explained Patrick O’Connor, curator of vertebrate paleontology at the Denver Museum of Natural Sciences.

The region has long been recognized for its dinosaur discoveries, including fossils resembling Tyrannosaurus rex and Triceratops. This recent find is noted to be Denver’s deepest and oldest, according to O’Connor.

While other experts validate the findings, reactions to the discoveries have been varied.

“It’s impressive. However, it might not be scientifically groundbreaking,” commented Thomas Williamson, curator of paleontology at the Museum of Natural History in Albuquerque, New Mexico.

Williamson remarked that it’s challenging to accurately determine the species of dinosaur from the evidence found.

Yet, Erin Rack Count, the educational program director for Dinosaur Ridge, located just west of Denver, exclaimed in an email that the discovery is “absolutely legitimate and utterly fascinating!”

The fossil’s shape suggests it may belong to a duck-billed dinosaur or perhaps a tecosaurus.

Currently, the borehole fossils are on display at the Denver Museum of Natural Sciences, but there are no plans to search for additional finds beneath the parking lot.

“I wish I could dig a 763-foot (233 meters) hole in the parking lot and unearth more dinosaurs, but I don’t think it will happen because of parking constraints,” said a museum official.

Source: www.nbcnews.com

Nature Memories Review: A New Book Reveals the Critical Shortcomings of Our Natural History Museum

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What are you missing? Contemplating the exhibition at the American Museum of Natural History in New York City

Jeffrey Greenberg/Group via Getty Images via Universal Image Group

Nature’s Memory
Jack Ashby (Allen Lane)

In his intriguing new book, Nature’s Memories: Behind the Scenes of the World’s Natural History Museum, Jack Ashby, assistant director of the University Zoology Museum in Cambridge, UK, describes the museum as a peculiar space. It represents societal meanings and the natural chronicles of our ecosystems and environments. However, these records are often fundamentally flawed and misleading.

Ashby emphasizes the museum’s role, particularly in natural history, as an extensive catalog of past life on our planet. Its original purpose was to document everything from flora to fauna and enhance our understanding of the natural world.

Times have changed. As Ashby reveals in this captivating work, he critiques the shortcomings of museums, challenging our preconceived notions. Notably, much of our natural history remains hidden in poorly lit storage rather than publicly displayed.

Readers will soon discover the significance of the areas typically off-limits to the public. Ashby notes that there are approximately 70,000 flowering plant species worldwide that scientists have yet to fully describe.

The book delves into the preservation processes for animal skeletons, highlighting how flesh is removed for conservation, how insects are prepared for display, and how taxidermy is conducted. These behind-the-scenes insights are among the book’s most intriguing aspects. Ashby also points out the unrealistic representation of frogs due to shrinkage and features a segment on a renowned glassmaker recognized for creating lifelike floral reproductions.

Yet, the lack of representation extends beyond plants. Ashby highlights the biases in what we learned during school trips to such institutions. He cites a 2008 study indicating that merely 29% of mammal displays and 34% of bird exhibits in natural history museums feature females, resulting in a limited understanding of habitat contributions. This imbalance can be attributed to the more visually appealing male specimens and the fact that those who collect and exhibit are predominantly male and often white Westerners.

Ashby advocates for addressing the misrepresentation issue within museums, asserting that our education about nature is severely lacking due to the biases of past generations. Many male mammalian skeletons are misrepresented in museum displays due to curatorial choices that remove pelvic bones.

Though the book was published prior to the intentional dismantling of American scientific institutions, it reflects the prevailing anti-expert sentiment. This makes it all the more vital to read. We must reflect on what is excluded from museum exhibits as seriously as we do what is included.

As Ashby asserts, “The work that is being done at the Natural History Museum is more crucial than ever, and the role that must be played in order to safeguard the future of humanity is just beginning to unfold.”

Chris Stokell Walker is a science writer based in Newcastle, UK.

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Inside the Museum: Beetles Feeding on Meat for Scientific Research

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Navigating past the enormous hanging blue whales and the Alaska brown bear on the ground floor of the American Museum of Natural History, you’ll stumble upon an unassuming, concealed door. Above it are small signs.

“Bug colony.”

Behind this door, accessible solely to a select group of museum staff, thousands of carnivorous skin beetles tirelessly work around the clock, carrying out specimen preparation tasks that even the museum’s most skilled professionals cannot manage.

They consume the flesh from animal skeletons, leaving only pristine bones behind.

Many skeletons are too intricate for human cleaning, so the museum’s osteologic preparation team turns to these six-legged workers to ready specimens for research and display.

The operation takes place in three gray wooden boxes, about the size of a foot locker, which house the colony. These boxes are lined with stainless steel, and their flexible tops unveil a range of small creatures, including beetles, feasting on the remnants of primarily birds. They devour morsels of flesh still attached to the carcasses.

The room resonates with soft, crackling noises. “Adding milk makes it sound like frying food or cooking rice,” mentioned Rob Pascocello, a colony caretaker.

The beetles are tiny—only a few millimeters long—capable of entering the narrowest crevices in animals and nibble away without damaging fragile skeletal structures, according to Scott Schaefer, the overseer of the museum’s vast collection of specimens and artifacts, which comprises over 30 million items.

“They do an exceptional, meticulous job that human hands cannot replicate due to delicacy,” Schaefer explained. “It’s gentler than boiling the specimens or subjecting them to chemicals or acids.”

Museum representatives state that this industrious colony has processed countless carcasses, including a significant portion of the over 30,000 bird skeleton specimens housed for decades. “They slip into tiny spaces and go unnoticed, continuing to feed until there’s nothing left,” Schaefer noted.

On a recent weekday, Paul Sweet, the collection manager for ornithology, stood in the bug room, pointing out that the name is misleading from a scientific standpoint.

True bugs, known scientifically as Hemiptera, have mouthparts designed for piercing and sucking. In contrast, beetles—known as Coleoptera—typically have a cylindrical shape with chewing mouthparts.

The colony has effectively reduced the once vibrant pink flamingos into mere bundles of bones. The majestic snowy owl was similarly transformed. Among the remnants was a tiny skeleton in a canister, with bones smaller than a toothpick.

“That’s a songbird,” Pascocello remarked.

Skin beetles are scavengers commonly found in the wild, nests, and animal burrows, feasting on deceased animals.

Museum officials mentioned that this dermatological colony, introduced from Africa in the 1930s, has remained self-sufficient. Sweet noted that the current beetle population has been at the museum for 35 years, though it remains uncertain whether they are descendants of the original colony.

Regardless, beetles only live for six months, leading Pascocello to humorously state, “they’re all related.” He also mentioned having a backup colony in his bedroom during the museum’s closure due to the coronavirus pandemic.

On this particular day, Sweet was preparing to feed the colony a Northern Gannet, a seabird recovered from Midland Beach on Staten Island. It had already been stripped, dried, and had most of its meat removed by researchers before being handed over to the beetles for final preparation.

Within minutes, the bodies were swarming with beetles. While smaller birds can be entirely cleaned in just a couple of days, a larger skeleton, like that of a gannet, may take up to two weeks.

Pascocello once provided beetles to feed orangutans, while Sweet had given them the remains of an emu. However, the size of the specimens presented determines how they are handled; larger ones must be provided in pieces, such as the remains of a Cuban crocodile named Fidel, sourced from the Bronx Zoo in 2005.

Before pristine skeletons are boxed and cataloged, they are soaked in water and frozen for several days to eliminate any residual beetles and eggs.

Beetles pose no threat to humans, but an infestation within the museum’s specimen collection is undesirable. A sufficient quantity of beetles means strips of petrolatum jelly at the top of the box and sticky patches on the room’s doorway.

If the supply of specimens falls short, Pascocello will resort to chicken as an emergency food source. Sweet mentioned providing the colony with pig feet during the pandemic, as it was the least expensive meat available at the supermarket.

The beetle’s voracious appetite serves as a reminder that significant scientific work doesn’t always happen in spotless laboratories. Above the door, beneath the “Bug Colony” sign, a handwritten note reads:

“The unpleasant odor emanating from behind this door is perfectly normal.”

Source: www.nytimes.com

The Pennsylvania Museum Presents a Sanctuary Beneath the Artist’s Glass Dome

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This article forms part of the museum’s special feature on how artists and institutions are evolving in response to a changing world.

“Super/Natural”—an immersive, dome-shaped stained glass artwork by Judith Schaechter—truly comes to life from within.

Entering through the small portal, one is enveloped by vibrant glows of birds, stars, insects, and fantastical plants and roots in optimal lighting. Earlier this year, I had the chance to experience it firsthand in Schaechter’s home studio, and I felt a unique blend of serenity and admiration.

This evokes a thoughtful design. Such illumination profoundly affects human emotions, a truth acknowledged by medieval architects and glass artisans centuries ago.

“I’m not particularly religious, but it’s hard not to feel a sense of reverence and awe when stepping into the dome,” noted Chief Curator Laura Turner Igo. The James A. Michener Museum in Doylestown, Pennsylvania, currently features nine glass panels and two related drawings that delve into the eight-foot-tall artwork and our connection to the universe. The exhibition, Super/Natural, opened on April 12th and extends through September 14th.

“You’re enveloped by a riot of plants, insects, and birds,” Igo explained. “Skeletons and bones are present, representing both the splendor of life and the interconnectedness of death and decay. It’s beautiful yet slightly unnerving.”

Schaechter created this exquisite piece during her recent tenure as an artist-in-residence at the Penn Neurotherapy Center in Philadelphia, situated about 40 miles from Michener. The center was on her radar due to her interest in literature regarding the science of consciousness and beauty, often referred to as the “aesthetic brain.” I will oversee the center’s various activities.

When Schaechter reached out a few years back, she found that the center frequently hosts artists, and the timing coincided with the end of the current residents’ term. Excitedly, she volunteered for the next opportunity.

Upon arrival, she aimed to create an immersive experience that positions humans at the center of a “three-layer cosmos,” as she described in a video interview. The resulting structure serves as a serene and enigmatic sanctuary.

Dr. Chatterjee remarked that he wasn’t surprised by the emotional impact of Schaechter’s work. “Usually, feelings of reverence arise in the presence of vastness, making individuals feel small and connected to something greater,” he mentioned in an email interview. “The brain’s network that triggers contemplation and rewards likely gets activated. This can lead to the release of endogenous endorphins related to transcendence, as well as the pleasant emotions of oxytocin associated with connection.”

Schaechter began her BFA at the Rhode Island School of Design in 1983 and was recently honored with the 2024 Smithsonian Visionary Award. She is represented by the Claire Oliver Gallery, and her works are part of collections at both the Philadelphia Museum and the Victoria and Albert Museum in London.

“No one works in glass quite like Judith,” Igo said. She recounted her recent visit to the Met, where she viewed “Garden Landscape,” a three-part stained glass window crafted by Agnes Northrop at Louis Comfort Tiffany’s studio. “Such artworks likely share the immersive quality and technique of ‘Super/Natural,'” she noted, referencing Maxfield Parrish’s “Dream Garden.”

“Of course, Northrop’s work was produced by a larger studio, while Judith meticulously crafted every piece for ‘Super/Natural,'” she added.

Last month, Schaechter discussed her work in a video interview from a beautifully restored 19th-century row house in Philadelphia. The conversation was edited for clarity and brevity.

What artistic goals did you set during your residency at the Penn Neuroaesthetics Center?

They focus on three core themes: beauty and morality, the built environment and wellness, and the relationship with art.

I aimed to undertake a project that confronted issues of beauty and morality, yet I yearned for artistic inspiration. At the onset of my residency, I delved into natural history illustrations, particularly those created by women, which had been one of the few acceptable art forms for women in the 17th and 18th centuries. I found Maria Sibilla Merian’s work particularly inspiring. These artists aimed to render nature objectively, yet their work often appeared more artistic than scientific. I sought to explore this intersection.

What is your experience like at the center?

The atmosphere is fascinating, accommodating around 15 individuals at any time. There are undergraduate students, many of whom are pursuing dual majors in artistic disciplines like architecture and fine art. There is also a medical student focused on plastic surgery who is keen on aesthetics for evident reasons. Weekly lab meetings gather everyone to share project updates, including both Dr. Chatterjee and myself.

Reflecting on my experience in “Super/Natural,” why do you believe glass, particularly the way it interacts with light, evokes such a sense of awe?

I think it has a biological basis. We have an inherent physical response to light, particularly when it’s refracted through glass. Colored light holds a certain magic; it isn’t simply perceived as absence. Most artworks are intended to be appreciated in reflected light since, as humans, we aren’t designed to gaze directly at the sun. Thus, the role of stained glass artists is to modulate that light, rendering it visible.

It’s as though you can reach out and touch the light; glass lets you momentarily grasp something ethereal.

Indeed, people are captivated by radiant light. Just think of how someone might place an empty vodka bottle in a kitchen window to catch the light. It doesn’t always have to be extravagant to be appreciated. There lies an extraordinary resonance in that experience.

What do you hope visitors take away from their experience with your work?

I aim to spark inspiration in others. Everything crafted within the dome emanates from my imagination.

I am immensely grateful for advancing technology, which allows me to explore the craft field within the dome without negating the human touch. However, I feel that many become enamored by technology and overlook the extraordinary power of our own hands and intellect. So while working on the dome, I relied on few reference materials; at 64, my mental repository is rich with experiences and knowledge.

Source: www.nytimes.com

Philadelphia Museum of Science under investigation after receiving package with two preserved fetuses

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Philadelphia police are investigating the origin of a package containing two preserved fetuses in glass bottles that was sent to the city’s Museum of Medical Sciences.

Museum staff reported receiving the package on Tuesday morning, according to a police statement.

The package was addressed to the museum curator, had no return address, and contained a letter from someone claiming to be a retired doctor, stating that the two specimens were a gift to the museum.

“There is no proper documentation, provenance or information that would allow us to accept it,” says Mütter Museum curator Anna Dodi. told NBC Philadelphia.. “Obviously they looked like human remains, so we had to call the authorities.”

of Mutter Museum It is part of the Philadelphia College of Physicians and features a collection of preserved anatomical specimens, models, and medical instruments.

The museum accepts donations, especially those involving human remains, but the process requires research and a detailed explanation of the object’s history.

Dody, who has been the museum’s curator for nearly 20 years, said the donation was “unusual, unusual and completely inappropriate procedure.” She told NBC News to discourage others from sending such “unsolicited anonymous remains.”

The fetus was handed over to the medical examiner’s office for further investigation. Philadelphia Police will provide additional information as it becomes available.

Source: www.nbcnews.com

Pokemon Chaos: Did the Van Gogh Museum Make the Right Moves?

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IIn early November, I was standing in a long line at Van Gogh’s gift shop in Amsterdam to buy a Pokemon ballpoint pen. It was one of the few items left in the store – this was in its second month of establishment Pokemon collaboration, but the craze for limited edition merchandise continued. Everything from T-shirts with pictures of Pikachu on the front to notebooks to shoulder bags was stripped away, leaving only prints and postcards behind the cash register. It was just after noon, but the number of people inside the store quickly led to the area being cordoned off and other people being denied access until things calmed down.

This has become a familiar sight for participants and staff alike. Launched in September to commemorate the museum’s 50th anniversary, the collaboration aims to introduce the Dutch artist’s work to a new audience, and since its inception, the collaboration has had enthusiasts and scalpers clamoring for the best. It caused a commotion and caused a huge mess of Pokemon goods. But the main culprit was in one item – limited edition. “Pikachu wearing a gray felt hat” trading card. The card sold out online as soon as it went on sale, with desperate gallery visitors having to scrum to get their hands on the card. Footage of the poke riot was quickly posted to Twitter. (now known as X), the card has since sold for up to $900 in eBay listings. This card was discontinued in mid-October.




“Bedroom” at the Pokemon x Van Gogh Museum exhibition, Munchillax and Snorlax inspired by Sow (1988). Photo: Pokemon International Co., Ltd.

So, what was it like actually working there? “Her first week was pretty bad,” recalls one of her employee girlfriends. “It’s just been too busy. A lot of people are trying to come four times a day just to get their cards.” The cards are aimed at children aged 6 to 12 and will be on display. Awarded after the conclusion of a Pokémon treasure hunt where participants learned about Van Gogh’s history from a new set of Van Gogh-inspired Pokémon drawings that were temporarily added to the Society.

“In the morning, people were rushing to the store at once, even though there was only one item per person,'' the employee said. They describe the scene as more like a “theme park” than a museum, with at least 2,000 of the 5,500 tickets sold by card alone. Many people who came that day had to be turned away.

“It was total chaos,” explains another. “What did people expect? You’re taking out something from the ’90s that people were fans of. You get the idea, but it doesn’t work with Pokémon.”

To meet demand without compromising the experience, trading cards were replaced with postcards. Additionally, in order to prevent scalpers, limited edition items were moved from the gift shop on the first floor to the first floor, a rule of one item per person was introduced, and customers were required to wait in line. However, when I visited, the Pokémon Adventures treasure hunt flyer was also out of stock, and I was told it would be reprinted. When I told him I was a journalist, he found me behind the counter. The Van Gogh Museum later told me that they had enough treasure hunt leaflets (in Dutch and English) until the end of the collaboration, but that’s not what I found.




Pokemon Adventure Treasure Hunt Leaflet. Photo: Matt Poskitt

In any case, shortages and overcrowding led to an increase in dissatisfied visitors. “Usually a month he gets two complaints,” says one of his staff members. “Most of the time, it’s important to have a lot of people here. [During the Pokémon exhibition] There were 12 pieces a day. First, it was about the line.after that [because] We didn’t hand out any more cards…so they felt like they bought a ticket and thought they didn’t get anything.”

The situation has improved somewhat with the removal of trading cards from the Van Gogh Museum. “I think we drew the wrong crowd for the first few weeks,” the staffer says. “[Afterwards] I was happy. All the kids would do was come and leave with a postcard and happy.”

“I think it’s been that way for the last few weeks.” [successful], yes,” they say. “There were a lot of families who wanted to go on a treasure hunt. Even though there are no more treasure hunts, regular art treasure hunts are still held. Usually we give out about 20 or 30 tickets, but yesterday we handed out about 50. I did. The kids are in.”