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he Art Institute of Chicago switched from free Tuesdays to free Thursday evenings, from 5-8 p.m.

At the time of this writing, there is not much more than anecdotal evidence available on the desired result of racially and ethnically diverse visitors during free evening hours, but the Art Institute of Chicago has every reason to believe its change in free hours achieved this. “We had Chicagoans in the museum who reported that it was their first-ever visit,” Lee said. “We had parents telling us that they were grateful that the free hours allowed them to easily bring their children after work. We had more visitors per free hour than we did when the free hours were on Tuesdays.

the competing priorities of ideology, practicality and economics. By designating periods of free admission to attract the infrequent visitor, museums can more easily justify charging an entrance fee on a regular basis

Cool Culture, an inventive nonprofit formed in 1999, has created a family pass to 71 cultural institutions in New York City. The pass is intended for low-income families, and the program’s primary clients are Head Start and other subsidized child-care centers. Two-thirds of participants have household incomes below the federal poverty line.

Although transportation is not provided, participants can visit at any time and return as many times as they wish.

Cool Culture’s success is in the numbers: Families who have the Cool Culture Pass are four times more likely to visit a museum than families without the pass, according to Linda Steele, executive director.    

one might logically conclude that museums with no admission fee will attract larger audiences and thus have a better chance at earning more revenue within the museum: more visitors, more sales in shops or restaurants. Upon closer scrutiny, this assumption may not be true.

museum visitors who did not pay an admission fee were likely to spend even less on additional goods or services than the average visitor who paid a fee to enter, even they were not museum members.

responses from museums of various sizes, settings and budgets. The most commonly mentioned benefits of free admission were service to the community and accessibility to a more diverse audience. Increased exposure, attendance and public relations opportunities also ranked high, as did improved opportunities for individual, corporate and foundation support. The primary drawbacks were lost revenue and the inability to build a membership base. Security concerns also figured prominently.

Do Not Touch” signs in art exhibitions. Of the 15 responding museums that offered limited free admission days or hours, more than half reported a significant difference in visitor demographics: seniors, large family groups, school groups, disabled persons and drug or alcohol recovery groups were most likely to attend at these times. Museums in Seattle, Scottsdale, San Diego and the San Francisco Bay area all reported an increase in student visitors on free admission days. Sue Cake, a longtime docent at the Oakland Museum of California, observed that free admission days enabled teachers to assign a museum visit as part of a class lesson, likely a factor for increased student visitation at many museums.

can discount or waive admission fees on a case-by-case basis. “The experience should have value like a movie, going out to eat, a concert or any other leisure-time activity,” said Deputy Director Amy Oppio. “It is . . . important for guests to believe in supporting the organization and its mission.” 

Not all respondents shared Oppio’s view. One of the survey questions asked about the ideal admission fee structure. Of the 24 museums that responded to this question, 30 percent said that free admission is the way to go. Midge Bowman, executive director of the Frye Art Museum, responded that art museums “should be free as public libraries are. Without this open admission, they remain elitist institutions.”

ents we write and the act of imposing an entry fee,” she wrote. “Museums, if they remain oriented toward their paying customers will not . . . feel motivated to become essential elements within the community and an important educational resource for all individuals wishing to learn.”

Ferriso understood that the ability of the museum to involve more people in the conversation was based on the relevancy of the content.

The CDN content was particularly relevant to Portland and had the potential to attract a new audience--the young creative class.

Portland has had a long trade relationship with China due to its location in the Pacific Northwest, and city officials intend to forge even closer ties. Portland's entrepreneurs and business people are interested in understanding more about this global force that is transforming the sociopolitical dynamic of the world. In addition, the exhibition's focus on design, though not traditional for the museum, connected with Portland's thriving design community.

triggered local businesses that were not previously involved with the museum to get involved

Discussions are ongoing about bringing in more exhibitions that are relevant to local businesses.

They invited a small number of people from the creative community who they knew would help stimulate conversation, like a good host at a dinner party. These creators hosted their own events and were invited to blog on the exhibition's Web site.

The bigger challenge for the museum was releasing control of the conversation. Museums are historically cautious, and protective of the intellectual rigor of each exhibition.

Curation: Stay true to who you are."At the end of the day, you still need to present a point of view," said Jay. "Curation is still king." The museum was able to successfully move beyond the traditional museum experience and remain authentic because it understood its core promise--inspiring conversations through art and culture. The medium of social media did not become the museum's promise, but a means to connect with a new generation of potential patrons. It remained committed to curatorial rigor, the selection of collaborators was strategic, and the topic was timely and meaningful. By staying true to its purpose, the museum was able to be relevant to this new generation without alienating its traditional patrons. An 85-year-old board member said it best: "CDN allowed the museum to rethink how it connects with people."

New metrics are being discussed to measure the value of the conversations generated by the museum. Ideas include measuring repeat visits to the museum, quality of conversations, and influence (how do you measure the impact of inspiring the next Frank Gehry?).

Heads covered by virtual-reality visors,

link four science centres with participating classrooms in each country.

demanding technical challenges. A museum needs a series of access points around the various exhibits, for example, so students can really ‘visit’ the museum instead of watching a series of presentations. ‘In some museums that’s easy because there are high ceilings to fix the access points, in others it’s quite a challenge,’ explains Sotiriou …

In its software, CONNECT has produced a stunning virtual museum, featuring colourful, exciting graphics that allow a student to try experiments and then view the results. This advanced learning environment is called the CONNECT Virtual Science Thematic Park –

a key turning point there occurred in 2019, amid growing public pressure.

a rising awareness in Germany of its own colonial crimes — including the killing of tens of thousands of Nama and Herero people in what is now Namibia. The atrocity, carried out between 1904 and 1908, is widely seen as the first genocide of the 20th century.

Until then, the main vehicle for discussing the return of the Benin Bronzes had been the Benin Dialogue Group, a network founded in 2010 that brought together Nigerian representatives and figures from European museums with bronzes in their collections. The group, however, favored loans over transfers of ownership.

The agreement stipulated that all objects that had been obtained “unethically” would be liable for return and directed institutions to facilitate claims by producing publicly available inventories.

obstacles remained on the Nigerian side. Although the country had requested the return of the bronzes since the 1970s, there was conflict over who would take ownership of the artifacts. Both the Nigerian government and the oba of Benin, whose family ruled the historical Kingdom of Benin from which they were looted, claimed that they owned the items. Godwin Obaseki, the governor of Edo State, where Benin City is, said he acted as a facilitator to resolve the dispute.

Ultimately, he said, the oba’s family, Nigeria’s museum commission and the government of Edo State agreed to join a trust together, with independent directors that oversee the construction and operation of the new museum.

the agreement allows for 168 pieces chosen by Nigeria’s museum commission to remain in Germany “so that Benin’s art can be shown to the world.” The approximately 350 other bronzes that were part of the Berlin museum collections will be transported to Nigeria once the pavilion is completed.

Edo Museum of West African Art

It remains unclear who will pay for the shipment and insurance of the remaining items in Germany, and he noted that the bronzes’ storage and upkeep will come at a considerable cost, including electrical bills for climate control.

To extend community involvement online, the museum created CDNPDX.org where sixteen different blog editors from the community contribute content and editorial perspectives daily.

While including potentially offensive underground comics and "amateur" art may make some traditional museum-goers uncomfortable, the museum believes that inviting people to be part of the experience is necessary to remain relevant and worth the risk.

Nazzaro said he wished that the museum had used its website to list gallery closings in real time.