Museums in Transit: Rethinking Relevance and Value

In 2019, the International Council of Museums (ICOM) proposed a new definition of museums as 'democratizing, inclusive and polyphonic spaces.' This sparked controversy at ICOM’s Kyoto conference, where debates led to a postponed vote. The tension between the museum as a custodian of objects and as a forum for ideas has intensified. Modern audiences demand dynamic engagement. Institutions rooted in collection and preservation struggle to meet these expectations.

The Museum of Modern Art in New York (MoMA) reopened its expanded campus in October 2019, a $450 million project designed to integrate its growing collection of contemporary works. The expansion emphasized versatility with rotating installations and thematic groupings aimed at disrupting traditional art narratives. Glenn Lowry, MoMA's director, described the change as a rethinking of how to tell the story of modern and contemporary art. Critics were divided; some praised the flexibility, while others worried about curation bending to market forces.

Smaller institutions are pursuing community-centric models, embedding themselves into local contexts with mixed results. The Workers Museum in Copenhagen integrates labor history into discussions of current employment conditions, hosting dialogues with unions and immigrant communities. In contrast, the failed attempt to convert the Anacostia Community Museum in Washington, D.C., into a resource center in 2021 illustrated the risks of overstating adaptability without adequate support.

Digitization has reshaped the stakes. During the COVID-19 lockdowns, many institutions turned to virtual tours and online lectures to maintain visibility. The Rijksmuseum in Amsterdam launched “Rijksstudio,” allowing users to remix high-resolution images of its collection. However, digital access raises questions about exclusivity and the nature of an 'authentic' encounter with art.

Dr. Sharon Heal, director of the Museums Association (UK), noted in a 2022 lecture that the most significant challenge museums face is relevance. She argued that relevance often means addressing uncomfortable legacies, including colonialism and inequality. This perspective urges museums to critically examine both their collections and governance structures. Heal cited the National Museum of African American History and Culture as a model institution tackling these intersections, curating its collection as both historical archive and activist platform.

Structural barriers persist. Funding remains uneven. According to a 2023 report by the European Museum Academy, independent museums faced an average funding cut of 15% between 2020 and 2022, raising ethical concerns about reliance on corporate sponsorship. In June 2023, the British Museum faced criticism for accepting $1 million from a donor linked to fossil fuels, exposing the fragility of balancing financial imperatives with public trust.

The role of museums as safe spaces for discourse has become central. The Humboldt Forum in Berlin, launched in 2020, reinterpreted its Prussian Palace setting to address Germany’s colonial past. Claudia Roth, Germany’s Commissioner for Culture and the Media, described it as a 'laboratory for post-colonial dialogue,' though skepticism about its restitution policies remains. By September of this year, the Forum had returned twenty-three Benin Bronzes to Nigeria, a gesture both symbolic and insufficient given the broader demands for restitution worldwide.

As museums reconsider their mandates, some experiment with dismantling the walls between the institution and its public. The Whitworth Art Gallery in Manchester, under Alistair Hudson until 2022, adopted 'useful art' as a guiding principle. Hudson encouraged visitors to see the gallery not merely as a space to consume culture but as one to produce it. Though his departure followed a dispute over political messaging, the Whitworth's approach remains a case study in reframing institutional purpose.

The question of value persists. Is it measured in ticket sales, educational programs, or public good? As Heal suggested, 'The most relevant museums will be those that understand their communities—not as audiences to be attracted but as collaborators.' For many institutions, survival depends on resolving this equation. Yet the broader question—whether museums can truly serve everyone—remains open. This uncertainty ensures their continued relevance. The best museums have always been works in progress, shaped as much by public expectations as by curatorial vision.