We found some great little chairs for viewing the artworks and carried them around with us. I know it's what they're meant for, but you look like such an asshole when you unfold a small seat in front of a painting and just plop yourself down for a few minutes, effectively blocking the access of everyone around you. It does make for great photos, though.
For me, the best part of the Museum was Jill Magid's exhibit, Authority to Remove, in which the artist documents and interprets her experiences after being commissioned by the Dutch Secret Service to create art for them. After spending months researching them and becoming vetted herself, Magid shows them the document/novel that she has written, Becoming Tarden, and it is returned to her with many of her thoughts, memories and feelings censored out. The Organization (as Magid refers to them) then suggested that she put the book on display under glass in a one-time-only art exhibit, effectively turning it into a sculpture piece, after which she would return it to them along with all of her rights to the document. This is that art exhibit.
Magid ripped the spine out of the book before displaying it, an act that demonstrates her compliance with their wishes and their disregard for the dignity and autonomy of her artwork. Only the Prologue and the Epilogue are available to read now, but you can read them online via the link above.
I found the entire exhibit poignant and thought-provoking, especially the way that it explored censorship and the way that the act of censoring something often serves to imbue it with more power and meaning than it would have had otherwise. If she hadn't been censored, Magid's artwork would have been far less interesting, and her awareness of this fact gives her works even more depth. As the subtitle of the exhibit says, "The secret itself is much more beautiful than its revelation."
Here's another nice piece from the exhibit that refers to the ability of one agent to reveal the identity of another:
