#historical-exhibit-removal

#historical-exhibit-removal

The Louvre accumulated considerable delays in the deployment of its security equipment, in favour of an event-driven policy, a judgment Des Cars said was unfair.

The significant number of ancestors held in UK museums is extremely distressing and symbolic of the colonial origins of these collections. We hope that the responses gathered by The Guardian will be shared with the relevant communities to support them in bringing their ancestors home.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

Developers LaSalle Investment Management, Lipton Rogers and Skidmore, Owings & Merrill (SOM) say they have listened to feedback and made "substantial" revisions to the 1 Silk Street plan, and have reduced the western section of the block by three storeys. The original plans for the 1980s former Linklaters building involved demolishing it and building a block of two towers, each standing 20 storeys above the ground floor.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

A Gothic cathedral can take centuries to complete. A world exposition pavilion may stand for six months. A ritual structure in Kolkata rises and vanishes within five days. Yet each draws pilgrimage, shapes collective memory, and reorganizes urban life. If heritage has long been defined by what endures, architecture repeatedly shows that cultural authority can also belong to what gathers people.

Although the AGO had planned to jointly purchase Goldin's moving-image work Stendhal Syndrome (2024) with the Vancouver Art Gallery (VAG) and Minneapolis's Walker Art Center, it pulled out in mid 2025 after its modern and contemporary curatorial working committee voted 11-to-9 against it. The move was unexpected, especially as the AGO already had three Goldin works in its collection. (The VAG and Walker Art Center proceeded with the joint acquisition.)

In a white and sterile office that could belong to any one of the warehouses that dot this industrial strip between Brisbane's airport and horse-racing precinct, a young woman is engrossed in a puzzle. Only this puzzle comprises, perhaps, three different sets, each almost (but not quite) identical to the other and none likely to be completed. Emily Totivan wears blue plastic gloves. She is an archaeology student helping to catalogue artefacts.

Crews dismantled plaques telling the stories of the nine enslaved people who lived in the President's House in Philadelphia, and were owned by George Washington.

Due to the lack of viable alternative storage options and in light of the significant financial pressures facing the county council, no suitable alternatives were identified. However, the council admits that the works have not been offered to any of the county's museums or galleries.

When Thomas Jefferson wrote about the "inalienable" rights of man in the US Declaration of Independence 250 years ago, it's possible he lifted the term from the French. And long before it was ever used as an adjective to describe human rights, it defined royal property. To this day, "inalienability" remains a cornerstone of public collections in France-and many other countries-impacting museums and their ability to deaccession, including for purposes of restitution.

Following the removal of a slavery exhibit at the former presidential homes of George Washington and John Adams in Philadelphia earlier this month, the municipal government is suing the US Department of the Interior and the National Park Service (NPS), claiming that the NPS acted outside of its authority. The exhibits memorialised the nine individuals Washington enslaved during his tenure in Philadelphia as the nation was being founded.

Among the museum directors paying keen attention to the ruling, on 3 December, that all federal grants from the Institute of Museum and Library Services (IMLS) would be reinstated, the director of the Seattle Art Museum Scott Stulen heaved a sigh of relief. In 2025, the Pacific Northwest's leading art museum saw all its federal funding cut. That represented the loss of an annual income stream, he says, of between $300,000 and $400,000.

When I enter a museum, I'm not looking for what's on the walls, I'm looking at what's behind them.

Brooklyn Museum Fills Its Top Contemporary Curator Spot Robert Wiesenberger was named senior curator of contemporary art at the Brooklyn Museum, a post that has been vacant since the departure of Eugenie Tsai in 2023. He comes from the Clark Art Institute in Williamstown, Massachusetts, where he was curator of contemporary projects, and was previously a curatorial fellow at the Harvard Art Museums.

There was no good reason to rename it, and in the end, I think the fundamental logic that went into that decision didn't withstand scrutiny or deeper analysis,