The museum, named Bayt Ali Gana, showcases a lifetime of the artist's works and took a decade to establish with the help of volunteers.

The museum opened this year in a country still dealing with the aftermath of the 2011 revolution and where arts and culture often take a back seat due to ongoing violence and instability.

Gana, a ceramic artist and owner of a museum in Libya, expressed that the focus of galleries in the country is solely on selling art pieces rather than making it accessible to the public.

The museum, which features permanent exhibitions of paintings, sculptures, and sketches by Ali Gana, also includes temporary exhibitions, seminar rooms, and a workshop space.

An old shipping container on the museum's premises serves as an artist residency for curators and museologists to address the scarcity of such skills in Libya.

Gana, who lived through four decades of censorship under Qaddafi's rule, emphasized the importance of artistic freedom and the need for art to be accessible without barriers.

Bayt Ali Gana, a villa in Libya, has a timeless appearance but shows signs of the unrest following Qaddafi's overthrow.

The property, which includes a museum and private residence, has bullet-riddled road signs and upside-down mortar shells in the garden.

During the 2011 unrest, Hadia Gana feared losing her father's precious works and archives, leading her to create a museum.

Challenges include sporadic fighting, utility cuts, and isolation due to Covid, all while avoiding state funding or investors to maintain independence.

The house of Ali Gana, a Libyan artist, has transformed into a cultural center celebrating his legacy of teaching and educating through art.

It is not a mausoleum but a hub of creativity and education, according to his daughter.

Gana's archives document traditional crafts and trades that have disappeared due to a 40-year ban on private enterprise imposed by Qaddafi in 1969.

Gana's oldest son, Mehdi, who now lives in the Netherlands, described his father's mission to build archives to connect Libya's past to a possible future.

The family values preserving and sharing knowledge.

Hadia Gana expressed her disappointment that museums in Libya are not seen as educational spaces yet.

She aimed to create a museum that is interactive and engaging, rather than a static and transfixed one.

Her goal was to make the museum lively, playful, and curious, inspiring visitors with its beauty.