Vanity Fair contributing editor A.A. Gill visited the museum in Kentucky and found it guilty of not only insulting science and most theology, but also good taste:

I spent a lot of time in the Eden picnic area, trying to wrest some sort of spiritual buzz, a sense of the majesty and the mystery, but it’s conspicuously absent. Literally beaten to death. This is Ripley’s Believe-It. It is irredeemably kitsch. In fact, it may be the biggest collection of kitsch in God’s entire world. This is the profound represented by the banal, a divine irony. (The penchant for kitsch is something that gay men and born-again Christians share.) This tacky, risible, and rational tableau defies belief, beggars faith. Compare it to the creation story in Michelangelo’s Sistine Chapel, Masaccio’s expulsion from Eden, or any of the thousands of flickering images, icons, and installations based on faith rather than literalist realism. It truly makes you wonder, Is all this righteous ire, all this money, all this Pentecostal flame-throwing the best they can come up with? This cheap county-fair sideshow—this is their best shot? It may be more replete with proof than a Soviet show trial, but this creation is bereft of any soul.