Museum of Contemporary Art/Denver

Visitors then arrive at the breathtaking atrium that runs through the center of the building. The transition from the confining entry with its low ceiling to a soaring space beyond comes out of Frank Lloyd Wright's playbook (which is why it's called neo-modern). The atrium, which divides the building into three structural volumes, is lit by skylight windows that form part of the floor of the roof-deck. An opening in the floor, lined with plate steel used in lieu of railings, reveals the lower level, where administrative offices and The Whole Room, a multi-purpose meeting-cum-gallery space, are located. Candice Breitz's "Legend," made up of a grid of thirty wall-mounted video screens on which Jamaicans are singing Bob Marley songs a cappella, is installed here. The Breitz is the first part of Star Power: Museum as Body Electric, the MCA's inaugural exhibitions.

On the first floor, in the intimate New Media Gallery — which is cordoned off by curtains — is "Faces," by Carlos Amorales. A mixed-media installation in which a spider form and a skull shape move to music, the piece is purportedly about the role of fantasy in contemporary society. In the mid-sized Photography Gallery is an exhibit of photo-collages by Collier Schorr from her "Jens F." series, based on her six-year visual exploration of a really cute teenage boy.

To proceed from the first floor, which also houses a library and executive offices, to the second floor, visitors may access the elevators or one of two sets of stairs. The enclosed staircases are very swanky, with black stairs, landings, railings and banisters offset by white walls splashed with indirect lighting. Not having to account for other functions, the second floor is completely made up of galleries. In the large Paper Works Gallery, there's an exhibition of watercolors of female nudes by Chris Ofili who, like Adjaye, is an African-born artist who lives in the United Kingdom. Ofili became world-famous (infamous?) a few years ago after he used elephant dung and pornography in a piece based on the Madonna. Republican presidential candidate Rudy Giuliani, then the mayor of New York, used Ofili as an example of cultural decadence, going so far as to threaten to de-fund the city-supported Brooklyn Museum, where his piece was exhibited.

In the Project Gallery is an installation called "Whare Shakairo" — a house for ancestors — by Maori artist Rangi Kipa. It is meant to rehabilitate the Tiki culture that has been degraded by non-Maoris. In the informal Promenade is an installation made of tape and high heels by Wangechi Mutu that's filled with post-feminist content. Finally, in the very grand Large Works Gallery, is an eye-dazzling untitled installation involving mirrored walls and mirrored sculptures by David Altmejd.

On the third floor is The Idea Box, an innovative education space for kids, and the wonderful June S. Gates Garden, designed by Karla Dakin. The rooftop garden features the use of Brazilian redwood for planter boxes, decking and paneling. A glass box set in the garden and back from the edges of the building houses the MCA Cafe, a restaurant with both indoor and outdoor bars. Inside is a permanent display by Kim Dickey that brings the garden in via a group of ceramic sculptures based on plant forms lining the sills surrounding the room.

I absolutely love Adjaye's MCA, and truly admire Payton for bringing it to Denver. Over the next several days, a series of events will inaugurate the new building, culminating in a grand-opening ceremony on October 28 from 10 a.m. to 10 p.m. The event is free and open to the public; call 303-298-7554 for information.