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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.”

Poverty rates for Hispanic children increased from 30 to 34 percent, an increase of 14 percent. Poverty rates for African-American children went from 32 to 24 percent. At the same time, the poverty rates for white children stayed nearly flat at about 11 percent.

The poverty rate for Asian-American children was 19 percent during 1996–2000.

Children in two-parent families in California are more likely to be poor than they were two decades ago, but they continue to have much lower poverty rates than children living with single mothers.

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.