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Museum theorists such as Elaine Heumann Gurian point out that admission fees may be the single biggest obstacle preventing museums from fulfilling their missions as educational institutions that are open and accessible to the widest range of visitors from all income levels and backgrounds. But is the financial position of most art museums so precarious that the 5 percent of operating budget provided by admissions fees is indispensable to the survival of the institution? Is there a middle ground between free admission and a standard entrance fee?

Potential visitors—especially families with children—are often concerned about the financial costs associated with a museum visit, such as transportation, parking and lunch. As the costs have risen, visitors expect greater value for their admission dollars.

Many of us have visited museums and seen the words “suggested donation” or “recommended amount” next to the admission fees. The actual amount collected per visitor is often significantly lower than the suggested amount

California, where many companies are based, passed laws that require greater diversity on corporate boards — and these appear to have had an impact. One, passed in 2018, requires boards of public companies with their principal executive office in the state to have at least two female directors, and the other, passed in 2020, says boards must have one or more directors from an “underrepresented community,” which includes people of several races and ethnic groups and people who identify as gay, lesbian, bisexual or transgender. Other states have introduced legislation that would require boards to have a certain number of women.

Most Museums Have Trouble Connecting To the Public. Maybe It's Time For Some New Ideas.

underprepared for their pending encounter with the visual arts

many audience members seem intuitively aware of what is missing: more access to the story explaining how and why a work has arrived at this place for their enjoyment.

The conference, hands-on workshops, science fair, performances, and other activities run October 10–16, one project is currently on view in the Sheila C. Johnson Design Center at Parsons The New School for Design. The Assignment Book is an exhibition curated by Scholz and Christiane Paul, director of the graduate media studies program at The New School for Public Engagement and Adjunct Curator of New Media Arts at the Whitney Museum of American Art, that poses questions for the audience. It features work by artist Luis Camnitzer that grapples with some unresolved questions about digital learning, and is solicited visitors to the gallery to add to the conversation, subverting the traditional role of the artist as teacher. There will be a discussion about this exhibition between Camnitzer and Paul on October 11.