Have you ever been deliriously excited when you’re almost at the end of an interminable task? The preparation for your SATs? That huge pile of laundry? Moving cross-country? Painting the Sistine Chapel?

Okay, maybe not that last one, but you know what I mean. That’s how I feel this week. The agony that is Project Runway season 6 is almost at an end, and I can feel it, almost like I’m Dorothy and I’ve clicked my heels three times. I want to go home, which in this case is New York City, where in my dreams season 7 is better and Michel and Nina never leave.

Which, according to press reports, they won’t. So we have that going for us, which is nice.

As for this week’s show, I have a confession. Thanks to my penchant for peeking, I saw the final collections months ago, so I figured out who our final three were weeks ago. This week’s shocking double elimination wasn’t so much shocking as expected.

What was head-scratching was the challenge — yet another repeat from the superior season 4, when the designers went to The Met for inspiration. Remember the stunners Christian, Jillian, Chris and even sad little Sweet P delivered?

You will when you see the corresponding non-brilliance our four girls and one boy cobbled together from their visit to The Met’s West Coast equivalent, The Getty Center.

No, Irina, pick that one behind you! 'Leonilla Princess of Sayn Wittgenstein' by Franz Xavier Winterhalter! I love that painting, and the dress is to die for...

But that’s not slag on The Getty. Let me tell you, having been to both places, and having spent more time at The Getty Center, that it was one of the greatest experiences of my life. And before you say, “Get out much?” I would point you to the architecture by Richard Meier, the incredible views of Los Angeles, and that’s not even including the art. Van Gogh, Bosch, and more — it is a feast for the senses. And the food at the cafeteria’s pretty tasty, too.

I don’t want to dwell on the usual Irina vs. Althea backbiting this week, because it’s as tired as the current leggings resurgence. Irina calls Althea King Kong, Carol Hannah tries to diffuse tension in the overstuffed women’s apartment, Gordana is somehow now on team Irina, and snaps at Carol Hannah.

Who wouldn’t want to go stay with weepy Christopher? He may be delusional, but when he’s not crying, he’s got a pretty sunny disposition. Laws, but I hate women sometimes.

What’s easier to talk about is Tim’s take on the designs in progress. When Tim has issues with every design, it’s easy to see the quality of this season’s personnel is dodgy. Even judges favorite Irina wanted to try out some bizzaro cavewoman look based on a Neo-Classical piece, just because the women in it were reclining on fur. Wha? When Tim commented that the fur looked like it was skinned from some sort of killer rabbit, I think we all agreed. And felt sorry for the poor bunny that gave its life.

Runway time, and Cynthia Rowley and Cindy Crawford are guest judges. Because it takes two Cindys to make up for one missing Michael. At least Nina is there, and she’s not having any excuses this week.

There really is no top or bottom, just who’s going to Bryant Park and who’ll be home, watching on TV.

Althea’s overworked, overpleated, over ruched piece, vaguely based on Meier’s architecture, is not appealing on Tanisha’s over-ample chesitcles.

Carol Hannah got lost with model Lisa in the decorative arts wing, and I’m not joking — I could scan in a picture of me standing in front of the same bed she used as inspiration. But I don’t look as stunning as Lisa does in her champagne gold gown. Although I agree with Nina that a lot of the inspiration was lost, I’m not sure it’s fair to call Carol Hannah’s work “safe perfection.” Frankly, she’s the best of this sad lot, and she has the least wretched personality. I call that a diamond amongst the turds. Does that sound better?

Christopher, oh Christopher. Remember in season two when Andre designed a gown based on gutter water? And it was gorge? Were you paying attention? Yes and no. Because you went down that road with your design based on a rock fountain with algae, but then you made this stiff board, and frankly, it chews. The little doo-dads you drew on the bottom to represent algae? At a distance, I thought you painted on some palm trees. Seriously.

I am now going to say the only nice thing I will every say about Irina, which is that she chose my favorite painting of the group — John William Godward’s 'Mischief and Repose.' How she chose to interpret it, however, was questionable. It wasn’t so much her execution, which was fine. It was, as all the judges pointed out, her overuse of needless accessories and a chunky black pump. There was nothing goddess-like to complement what was meant to be a goddess dress. And can you imagine what would have happened it she’d put the Pebbles and Bam Bam throw rug on model Kalyn? I shudder.

Gordana put out a truly lovely, ethereal piece, which she claimed was her goal. Based on Monet’s 'The Portal of Rouen Cathedral in Morning Light,' she captured the bleeding colors, the pale light and the triangular cornice perfectly. I can see someone like Leona Lewis in this gown. Should she have tried to achieve the same look on the front of the gown as well as the back? Hard to say. But as usual, all praise for Gordana is grudging, and comes with major caveats from the judges. This gown was the closest to her Goga collection, and I found it lovely, and the best of the bunch.

Sadly, you can’t win them all, so the best of the night (Gordana) and the absolute worst (Christopher) are sent home. It really didn’t matter who did what on this challenge, as it was a cumulative decision. And the usual game of designer’s roulette — “Which two designers would you take with you?” meant nothing, as it was all based on petty disagreements.

So, are you ready for it to be over? And for the inevitable? Which seems to be an Irina win? Or are you hoping, as am I, that a dark horse and nice girl might finish first? Carol Hannah, you are our only hope.

And just for tickles and giggles, if I had to pick an inspiration from The Getty, it would be my No. 2 favorite painting of all time, Portrait of Jeanne Kefer, by Fernand Khnopff. I think it would make a swell coat…