Baltimore Museum of Art's New Acquisitions Signal an Intentional Shift

In September 2023, the Baltimore Museum of Art (BMA) unveiled acquisitions that spotlight underrepresented artists. Among the highlights is Ed Clark's 1968 abstract painting, Untitled, measuring 178 by 234 cm. Its dynamic ochre and blue sweeps balance energy with restraint. The museum purchased it from private collectors, but the price remains undisclosed.

Another significant addition is Meleko Mokgosi’s multi-panel installation, Lex and Love (2016). Born in Botswana and now based in the U.S., Mokgosi explores postcolonial identity through text and figurative painting. The 12-panel piece, acquired directly from the artist, spans 5.5 meters and juxtaposes intimate imagery with legal documents. “This acquisition fills glaring gaps in our holdings of contemporary African artists,” said Asma Naeem, the BMA’s Director, in a phone interview.

The BMA also acquired a 17th-century embroidered jacket from Gujarat, India, enhancing its Decorative Arts department. Made from cotton and silk with gold metallic threads, this piece reflects Mughal craftsmanship and early modern textile trade routes. It was purchased at auction through Sotheby’s London for £46,000 ($57,500), enriching the museum's South Asian collection, which previously lacked vernacular textile arts.

In 2020, the BMA committed to revising its acquisitions strategy, proposing to sell three blue-chip paintings to address historical inequities. Although the sale did not proceed, it sparked a debate about resource allocation in art institutions.

“It’s not enough to collect works by women and artists of color as an afterthought,” Naeem stated at a recent panel with the Association of Art Museum Directors. Her comments reflect ongoing critiques questioning the depth of these efforts.

Interrogating the canon has become a hallmark of contemporary museum practice, as seen in initiatives at the Museum of Fine Arts, Boston, and the Tate. The BMA’s acquisitions resonate with a broader reckoning in the art world, challenging traditional hierarchies of medium and artist identity. Critics argue that many institutions shy away from fundamental changes, opting for high-profile purchases instead.

The effectiveness of these acquisitions will depend on their presentation. The BMA’s press release promises integration into galleries alongside existing works, fostering cross-cultural dialogues. Will Mokgosi’s Lex and Love engage with Western modernists like Rothko and Motherwell, or be confined to a “global contemporary” room? Will the Mughal jacket be treated as art or artifact? These decisions will shape public understanding of the collection.

The BMA’s strategy will be judged by its impact on cultural discourse. With Sarah Lewis’s “Vision and Justice” project advocating for diverse collections, the BMA aligns itself with significant academic and activist movements. However, the demand for equity drives competition for works by artists like Clark and Mokgosi, whose markets have rapidly escalated. Clark’s Untitled arrived at the BMA after a similar piece sold for $1.2 million—five times its high estimate just a few years ago. Such trends can hinder smaller institutions from accessing works by emerging artists.

The Baltimore Museum of Art has navigated controversy before. Its bold 2020 experiment sparked ongoing conversations in the museum world. Today’s acquisitions exemplify how an institution can balance collecting priorities with equity commitments, despite lingering practical and philosophical tensions. Progress may depend less on individual purchases and more on sustained institutional reflection.