The Seattle Art Museum addition represents an alternative tradition of pre-Bilbao museum design, in which the building takes second place to the art. Norman Foster's art museums, such as the Carré d'Art in Nimes and the revamped Sackler Galleries in London, have been similarly responsive. In his first public building, the University of East Anglia's Sainsbury Centre for Visual Arts (right), built in 1977, Foster pared the architecture down to a minimum, producing, essentially, an elegant airplane hangar. Exhibition spaces, a museum restaurant, an art history department, and a cafeteria share the vast, 100-foot-wide, 430-foot-long, column-free interior. Except for the glass walls at each end, there are almost no windows (although there are skylights), and architectural expression has been made subservient to flexibility and versatility. Over 30 years, the building has successfully accommodated many changes in exhibition display, use, and programming.