The United States is experiencing a significant boom in art museum construction and renovations, with approximately 90 new cultural projects announced in North America last year, according to AEA Consulting. This surge includes major expansions and renovations across the country, from the Joslyn Art Museum in Omaha to LACMA in Los Angeles. Influenced by pandemic pauses and increasing needs for system upgrades and relevancy, institutions are investing in large-scale capital projects. Enhancements often feature modern galleries, new visitor amenities, and extensive mechanical updates, aiming to attract diverse and younger audiences. Major funding stems primarily from private philanthropy, echoing the Gilded Age museum foundations. Notable projects include expansions at the Frick Collection, the Broad, and the Met, some supported by promised art donations. While museum building hits historic highs, experts like Adrian Ellis suggest the trend may be peaking, particularly in the U.S. and Europe, due to economic uncertainties. Despite the growth, questions persist on whether larger institutions offer better visitor experiences, emphasizing the value of smaller, more intimate museums.
The article emphasizes the need for museums to collaborate rather than compete in an increasingly challenging global landscape. While institutions customarily cooperate for the public good—lending artworks and co-hosting exhibitions—high-profile pieces can trigger fierce rivalry. The British Museum's unexpected announcement to host the Bayeux Tapestry, originally expected to be displayed at the Victoria and Albert Museum , exemplifies such cutthroat behavior. Financial disparities exacerbate tensions, with U.S. museums and those in the Middle East enjoying significantly larger endowments than their UK counterparts. Nevertheless, the UK preserves some key objects through national treasure designations, allowing local institutions to raise funds to retain certain artifacts. Despite successes like the V&A's acquisition of a 12th-century ivory carving over the Metropolitan Museum, many treasures, such as a jeweled Indian throne ornament, have been lost overseas. Yet, collaborations persist: the V&A and Getty Museum jointly acquired a Reynolds portrait, and Dutch and French institutions share Rembrandt works. Tristram Hunt of the V&A highlights the sector's collegial nature, underscoring that mutual support should prevail amid broader threats like reduced funding and political pressures.
The newly opened V&A East Storehouse in London offers a revolutionary museum experience by giving the public direct access to over 250,000 objects, 350,000 books, and 1,000 archives from the Victoria and Albert Museum's extensive collection. Unlike traditional museums, visitors can touch many items and even book one-on-one "Order an Object" sessions with specific artifacts, including a 1954 Balenciaga gown or a Vivienne Westwood sweater. Situated in the city's reimagined Olympic Park, the Storehouse is part of a larger cultural district developed after the 2012 Games, aiming to engage local communities and promote transparency in museum practices. Designed by the firm behind New York's High Line, the building showcases oversized pieces like Picasso stage curtains and Mughal architecture. The site also will host the upcoming David Bowie Center. Emphasizing openness, the museum features displays on conservation work and allows viewing of staff activity, aligning with its mission to make the entire national collection accessible to everyone.
In 2020, the Christopher Columbus statue in New Haven, Connecticut, was removed following public outcry amidst a national reckoning on racial justice after George Floyd’s death. The statue had been a focal point of controversy, with critics denouncing Columbus as a symbol of European colonization and oppression of Indigenous peoples, while supporters viewed it as a tribute to Italian-American heritage. Originally installed in 1892 in Wooster Square—a historically Italian neighborhood—the statue was frequently vandalized and led to public clashes during its removal. On May 9, 2025, city officials announced that the statue will be permanently displayed at the Lost in New Haven Museum under an art loan agreement. The museum, which aims to showcase New Haven’s diverse history, plans to present the Columbus monument within the broader context of the city’s development, including recognition of the indigenous Quinnipiac people. Local Italian-American representatives expressed satisfaction with the decision, emphasizing the statue's cultural significance. The city has since dedicated a new monument honoring immigrants to replace the Columbus statue in Wooster Square.
