No. We want to lend generously to others and borrow. But it has never been part of our mission to have museums in other locations.

One of your resources is a truly impressive photography collection. Do you plan to continue acquiring in that area?

We have the advantage of having put together the old masters of photography, with incredible depth, in the autumn of the period in which you could still buy whole collections. The market was still not terribly inflated. Now individual objects are selling for more than the Getty was able to buy whole collections for. The advantage of having such a large collection is that you can spend more money on fewer things and get exactly what you need, and we have every intention of doing that. Photography is the one area where we absolutely flow into the 20th and 21st centuries.

How would you rank your new home, Los Angeles, as a center of art?

In terms of the living artists in this city, a contemporary creative energy exists that is really extraordinary. Manhattan and London are the marketing centers and the central creative centers, but I would certainly place Los Angeles in the first tier. The interesting thing to me is that no single institution or cluster of institutions is equivalent to the Metropolitan Museum of Art in New York. Yet, in this city with multiple centers, numerous museums exist, and, when you bring them all together, they create an incredible center of gravity.

If you could own one piece of art, what would it be?

Any day my answer to this will vary, but I think I would go back to the Art Institute of Chicago and take Cézanne’s The Bay of Marseilles, Seen from L’Estaque. Unfortunately, I don’t think they would part with it.