Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for instructions and the latest information.
| (i) Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 10 above (see instructions)) | (iv) Is the organization listed in your governing document? | (v) Amount of monetary support (see instructions) | (vi) Amount of other support (see instructions) | |
|---|---|---|---|---|---|---|
| Yes | No | |||||
|
Total |
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Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 88,033,709 | 63,503,307 | 93,757,471 | 47,751,146 | 58,629,191 | 351,674,824 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf.... | ||||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | ||||||
| 4 | Total. Add lines 1 through 3 | 88,033,709 | 63,503,307 | 93,757,471 | 47,751,146 | 58,629,191 | 351,674,824 |
| 5 | The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included on line 1 that exceeds 2% of the amount shown on line 11, column (f).. | 56,402,012 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 295,272,812 | |||||
Calendar year
(or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 88,033,709 | 63,503,307 | 93,757,471 | 47,751,146 | 58,629,191 | 351,674,824 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 3,694,467 | 3,639,320 | 3,436,951 | 5,566,800 | 6,213,394 | 22,550,932 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | ||||||
| 10 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.).. | 1,132,263 | 215,389 | 2,403,139 | 562,330 | 2,766,601 | 7,079,722 |
| 11 | Total support. Add lines 7 through 10 | 381,305,478 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") . | ||||||
| 2 | Gross receipts from admissions, merchandise sold or services performed, or facilities furnished in any activity that is related to the organization's tax-exempt purpose | ||||||
| 3 | Gross receipts from activities that are not an unrelated trade or business under section 513 ..... | ||||||
| 4 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf... | ||||||
| 5 | The value of services or facilities furnished by a governmental unit to the organization without charge | ||||||
| 6 | Total. Add lines 1 through 5 | ||||||
| 7a | Amounts included on lines 1, 2, and 3 received from disqualified persons | ||||||
| b | Amounts included on lines 2 and 3 received from other than disqualified persons that exceed the greater of $5,000 or 1% of the amount on line 13 for the year. | ||||||
| c | Add lines 7a and 7b.. | ||||||
| 8 | Public support. (Subtract line 7c from line 6.) | ||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2015 | (b) 2016 | (c) 2017 | (d) 2018 | (e) 2019 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 9 | Amounts from line 6... | ||||||
| 10a | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources.. | ||||||
| b | Unrelated business taxable income (less section 511 taxes) from businesses acquired after June 30, 1975. | ||||||
| c | Add lines 10a and 10b. | ||||||
| 11 | Net income from unrelated business activities not included in line 10b, whether or not the business is regularly carried on. | ||||||
| 12 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.) .. | ||||||
| 13 | Total support. (Add lines 9, 10c, 11, and 12.).. | ||||||
| Section A - Adjusted Net Income | (A) Prior Year |
(B) Current Year (optional) |
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| 1 | Net short-term capital gain | 1 | ||||
| 2 | Recoveries of prior-year distributions | 2 | ||||
| 3 | Other gross income (see instructions) | 3 | ||||
| 4 | Add lines 1 through 3 | 4 | ||||
| 5 | Depreciation and depletion | 5 | ||||
| 6 | Portion of operating expenses paid or incurred for production or collection of gross income or for management, conservation, or maintenance of property held for production of income (see instructions) | 6 | ||||
| 7 | Other expenses (see instructions) | 7 | ||||
| 8 | Adjusted Net Income (subtract lines 5, 6 and 7 from line 4) | 8 | ||||
| Section B - Minimum Asset Amount | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Aggregate fair market value of all non-exempt-use assets (see instructions for short tax year or assets held for part of year): | 1 | ||||
| a | Average monthly value of securities | 1a | ||||
| b | Average monthly cash balances | 1b | ||||
| c | Fair market value of other non-exempt-use assets | 1c | ||||
| d | Total (add lines 1a, 1b, and 1c) | 1d | ||||
| e |
Discount claimed for blockage or other factors (explain in detail in Part VI): |
|||||
| 2 | Acquisition indebtedness applicable to non-exempt use assets | 2 | ||||
| 3 | Subtract line 2 from line 1d | 3 | ||||
| 4 | Cash deemed held for exempt use. Enter 1-1/2% of line 3 (for greater amount, see instructions). | 4 | ||||
| 5 | Net value of non-exempt-use assets (subtract line 4 from line 3) | 5 | ||||
| 6 | Multiply line 5 by .035 | 6 | ||||
| 7 | Recoveries of prior-year distributions | 7 | ||||
| 8 | Minimum Asset Amount (add line 7 to line 6) | 8 | ||||
| Section C - Distributable Amount | Current Year | |||||
| 1 | Adjusted net income for prior year (from Section A, line 8, Column A) | 1 | ||||
| 2 | Enter 85% of line 1 | 2 | ||||
| 3 | Minimum asset amount for prior year (from Section B, line 8, Column A) | 3 | ||||
| 4 | Enter greater of line 2 or line 3 | 4 | ||||
| 5 | Income tax imposed in prior year | 5 | ||||
| 6 | Distributable Amount. Subtract line 5 from line 4, unless subject to emergency temporary reduction (see instructions) | 6 | ||||
| Section D - Distributions | Current Year | |
|---|---|---|
| 1 Amounts paid to supported organizations to accomplish exempt purposes | ||
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
||
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | ||
| 4 Amounts paid to acquire exempt-use assets | ||
| 5 Qualified set-aside amounts (prior IRS approval required) | ||
| 6 Other distributions (describe in Part VI). See instructions | ||
| 7Total annual distributions. Add lines 1 through 6. | ||
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
||
| 9 Distributable amount for 2019 from Section C, line 6 | ||
| 10 Line 8 amount divided by Line 9 amount | ||
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2019 |
(iii) Distributable Amount for 2019 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2019 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2019 (reasonable cause required-- explain in Part VI). See instructions. |
||||
| 3 Excess distributions carryover, if any, to 2019: | ||||
| a From 2014....... | ||||
| b From 2015....... | ||||
| c From 2016....... | ||||
| d From 2017....... | ||||
| e From 2018....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2019 distributable amount | ||||
|
i
Carryover from 2014 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from 3f. | ||||
| 4Distributions for 2019 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2019 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from 4. | ||||
|
5
Remaining underdistributions for years prior to 2019, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
6
Remaining underdistributions for 2019. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
7 Excess distributions carryover to 2020. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2015..... | ||||
| b Excess from 2016..... | ||||
| c Excess from 2017..... | ||||
| d Excess from 2018..... | ||||
| e Excess from 2019..... | ||||
| Facts And Circumstances Test |
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| Return Reference | Explanation |
|---|
| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.
Go to www.irs.gov/Form990 for the latest information.
| Return Reference | Explanation |
|---|---|
| FORM 990, PART III, LINE 1 | SFMOMA BELIEVES THE ART OF OUR TIME IS VITAL AND SHARES IT WITH PASSION AND PURPOSE. WE CANNOT IMAGINE LIFE WITHOUT ART; IT INSPIRES AND CONNECTS US EVERY DAY. WE STRIVE FOR EXCELLENCE IN OUR WORK AND PROGRAMS BECAUSE WE BELIEVE THAT ART PROVIDES NEW WAYS TO SEE THE WORLD AND EACH OTHER. NOW MORE THAN EVER, THESE CONNECTIONS MATTER, AND WE BRING OUR BEST EFFORT TO THIS ENDEAVOR. |
| FORM 990, PART III, LINE 4A | EXHIBITIONS A KEY OBJECTIVE OF SFMOMA'S MISSION IS TO PRESENT EXHIBITIONS THAT EXPLORE WORKS BY LEADING MODERN AND CONTEMPORARY ARTISTS AND THE MOST SIGNIFICANT ARTISTIC DIRECTIONS OF OUR TIME, IN THE CONTEXT OF AN ACTIVE DIALOGUE WITH LOCAL, NATIONAL AND INTERNATIONAL ART COMMUNITIES. THE MUSEUM SEEKS A BALANCED EXHIBITION PROGRAM THAT INCLUDES MONOGRAPHIC AND THEMATIC EXHIBITIONS OF BROAD APPEAL AS WELL AS THOSE THAT REFLECT SFMOMA'S DISTINCTIVE CURATORIAL VOICE IN PAINTING AND SCULPTURE, PHOTOGRAPHY, MEDIA ARTS, ARCHITECTURE AND DESIGN, AND CONTEMPORARY ART. THE EXHIBITIONS PROGRAM INCLUDES TWENTY TO TWENTY-FIVE PRESENTATIONS ANNUALLY, OF WHICH 75 PERCENT ARE ORGANIZED BY SFMOMA AND 25 PERCENT ARE TRAVELING EXHIBITIONS ORGANIZED BY OTHER INSTITUTIONS. SFMOMA HOLDS AN INTERNATIONALLY RECOGNIZED COLLECTION OF MODERN AND CONTEMPORARY ART, AND WAS THE FIRST MUSEUM ON THE WEST COAST DEVOTED SOLELY TO 20TH-CENTURY ART. THE MUSEUM'S CURRENT COLLECTION INCLUDES OVER 36,000 WORKS OF PAINTING, SCULPTURE, PHOTOGRAPHY, ARCHITECTURE, DESIGN, MEDIA, AND CONTEMPORARY ART. THEY ARE DISPLAYED IN 170,000 SQUARE FEET OF EXHIBITION SPACE, MAKING THE MUSEUM ONE OF THE LARGEST IN THE UNITED STATES OVERALL, AND ONE OF THE LARGEST IN THE WORLD FOR MODERN AND CONTEMPORARY ART. RECENT EXHIBITIONS ORGANIZED BY SFMOMA INCLUDE: NEW WORK: PARK MCARTHUR, 2017 SECA ART AWARD, LARRY SULTAN: HERE AND HOME, MIKE MANDEL: GOOD 70S, EDVARD MUNCH: BETWEEN THE CLOCK AND THE BED, SOUNDTRACKS, NOTHING STABLE UNDER HEAVEN, JIM CAMPBELL: TILTED PLANE, SUBLIME SEAS: JOHN AKOMFRAH, NOGUCHI'S PLAYSCAPES, DESIGNED IN CALIFORNIA, LOUISE BOURGEOIS SPIDERS, NEW WORK: KERRY TRIBE, NEW WORK: LANZA ATELIER, 2017 SECA ART AWARD, ROBERT RAUSCHENBERG: ERASING THE RULES, RENE MAGRITTE: THE FIFTH SEASON, ALEXANDER CALDER: SCALING UP, WALKER EVANS, CAROLYN DRAKE: WILD PIGEON, SELVES AND OTHERS: GIFTS TO THE MUSEUM FROM CARLA EMIL AND RICH SILVERSTEIN, THE TRAIN: RFK'S LAST JOURNEY, REBECCA HORN, GET WITH THE ACTION: POLITICAL POSTERS FROM THE 1960S TO NOW, COMPOSING NATURE: PAUL KLEE AND JOHN CAGE, PAUL KLEE AND GAIKA SCHEYER'S BLUE FOUR, BETWEEN TWO WORLDS: ART OF CALIFORNIA, STRANGER IN A STRANGE LAND: ART OF CALIFORNIA, PAUL KLEE AND REX RAY, NAM JUNE PAIK: IN CHARACTER, IN SERIES: CONTEMPORARY DRAWINGS FROM THE COLLECTION, JULIE MEHRETU, SELECTIONS FROM THE SACK PHOTOGRAPHIC TRUST, AND ONGOING EXHIBITIONS, OPEN ENDED AND FISHER COLLECTION EXHIBITIONS, SIDE BY SIDE: DUAL PORTRAITS OF ARTISTS, RICHARD ARTSCHWAGER, WALTER DE MARIA: SURFACE WAVES, SOL LEWITT. SFMOMA'S EXHIBITIONS TOUR WIDELY AND HAVE BEEN PRESENTED NATIONALLY AND INTERNATIONALLY AT SUCH VENUES AS THE ALBERTINA MUSEUM, VIENNA; ART INSTITUTE OF CHICAGO; BALTIMORE MUSEUM OF ART; THE CENTER FOR CREATIVE PHOTOGRAPHY; CENTRE POMPIDOU; CORCORAN GALLERY OF ART; DALLAS MUSEUM OF ART; FUNDACION BBK, BILBAO; FUNDACION MAPFRE, MADRID; GALERIE RUDOFINUM; GALLERIA CIVICA DI MODENA; JEU DE PAUME; LOS ANGELES COUNTY MUSEUM OF ART; THE METROPOLITAN MUSEUM OF ART; MILWAUKEE ART MUSEUM; MODERN ART MUSEUM OF FORT WORTH; MUSEE GRANET; MUSEUM OF CONTEMPORARY ART, CHICAGO; MUSEUM OF CONTEMPORARY ART, SYDNEY; MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA; MUSEUM FOLKWANG; MUSEUM OF MODERN ART, NEW YORK; MUSEUM WIESBADEN; NORTON MUSEUM OF ART; PHILADELPHIA MUSEUM OF ART; REUNION DES MUSEES NATIONAUX-GRAND PALAIS; SOLOMON R. GUGGENHEIM MUSEUM; TATE MODERN; VITRA DESIGN MUSEUM, RHEIN;WALKER ART CENTER; WEXNER CENTER FOR THE ARTS; AND WHITNEY MUSEUM OF AMERICAN ART. |
| FORM 990, PART III, LINE 4B, PROGRAM SERVICE ACCOMPLISHMENTS: | COLLECTIONS AND PURCHASE OF ART ONE OF THE MOST IMPORTANT FUNCTIONS OF A MUSEUM IS TO DEVELOP AN OUTSTANDING COLLECTION OF WORKS OF ART, THEREBY CREATING AND OFFERING AN ARTISTIC LEGACY TO THE COMMUNITY, NATION, AND THE WORLD. SINCE 1935, SFMOMA HAS BEEN A PIONEER AMONG MODERN AND CONTEMPORARY ART MUSEUMS IN COLLECTING AND PUBLIC PROGRAMMING IN THE FIELDS OF PHOTOGRAPHY, ARCHITECTURE AND DESIGN, INSTALLATION, AND NEW MEDIA, EVEN AS IT HAS ASSEMBLED PREMIER HOLDINGS IN THE MORE TRADITIONAL MEDIA OF DRAWING, PAINTING, AND SCULPTURE. SFMOMA'S ART COLLECTION IS REGIONAL, NATIONAL, AND INTERNATIONAL IN SCOPE, AND BEGINS IN THE TWENTIETH CENTURY, WITH THE EXCEPTION OF PHOTOGRAPHY, WHICH ENCOMPASSES THE ENTIRE HISTORY OF THAT MEDIUM (1839 TO THE PRESENT). THE MUSEUM HAS MORE THAN 38,000 WORKS OF ART IN ITS COLLECTION, REFLECTING THE DISTINCT COLLECTING STRATEGIES OF THE MUSEUM'S FIVE CURATORIAL DEPARTMENTS. DEPARTMENT OF PAINTING AND SCULPTURE THE COLLECTION OF PAINTING AND SCULPTURE FORMS THE BACKBONE OF SFMOMA'S PERMANENT COLLECTION AND REPRESENTS THE FULL LEGACY OF THE MUSEUM'S ACTIVITIES. ALTHOUGH THE DEPARTMENT OF PAINTING AND SCULPTURE WAS FORMALLY ESTABLISHED IN THE MID-1980S, SFMOMA HAS BEEN ACTIVELY ENGAGED IN THE ACQUISITION, RESEARCH, PRESENTATION, AND INTERPRETATION OF A DIVERSE RANGE OF MODERN AND CONTEMPORARY WORKS SINCE THE MUSEUM'S FOUNDING IN 1935. THE COLLECTION IS DISTINGUISHED BY ITS CONCENTRATIONS IN FAUVISM, GERMAN EXPRESSIONISM, SURREALISM, LATIN AMERICAN ART, ABSTRACT EXPRESSIONISM, POP ART, POSTMINIMALISM, GERMAN PAINTING, ART FROM THE SAN FRANCISCO BAY AREA, AND MAJOR LARGE-SCALE INSTALLATIONS FROM ARTISTS WORKING IN THE 1990S. WHILE THESE MASTERWORKS FORM THE FOUNDATION OF THE COLLECTION, THE MUSEUM IS ACTIVELY BUILDING A PREEMINENT COLLECTION OF CONTEMPORARY ART. THE DEPARTMENT FOCUSES ITS CURRENT COLLECTING PRACTICES TOWARD ACQUIRING THE MASTERWORKS OF TOMORROW, FOLLOWING MID-CAREER AND EMERGING ARTISTS WHO ARE WORKING AT THE HIGHEST LEVELS OF ARTISTIC MATURITY. DEPARTMENT OF PHOTOGRAPHY SFMOMA WAS AMONG THE FIRST AMERICAN ART MUSEUMS TO RECOGNIZE PHOTOGRAPHY AS AN ART FORM. THE MUSEUM HAS BEEN DEDICATED TO THE ACQUISITION, RESEARCH, PRESENTATION, AND INTERPRETATION OF PHOTOGRAPHS FOR MORE THAN SEVENTY-FIVE YEARS, MAKING SFMOMA'S HOLDINGS ONE OF THE OLDEST COLLECTIONS OF PHOTOGRAPHY AMONG ART MUSEUMS NATIONWIDE. THE PHOTOGRAPHY COLLECTION IS ALSO THE MUSEUM'S LARGEST COLLECTION. THE MUSEUM'S COLLECTION IS PARTICULARLY WELL-REGARDED FOR ITS PHOTOGRAPHY OF CALIFORNIA AND THE WEST, THE EUROPEAN AVANT-GARDE, AND AMERICAN MODERNISM. OTHER AREAS OF STRENGTH INCLUDE JAPANESE PHOTOGRAPHY, VERNACULAR PHOTOGRAPHY, LANDSCAPE PHOTOGRAPHY, AND A GROWING CONTEMPORARY COLLECTION. THE SFMOMA PRITZKER CENTER FOR PHOTOGRAPHY IS THE LARGEST PERMANENT SPACE DEVOTED TO PHOTOGRAPHY IN A MODERN AND CONTEMPORARY ART MUSEUM. DEPARTMENT OF ARCHITECTURE AND DESIGN THROUGHOUT ITS HISTORY SFMOMA HAS BEEN AN ACTIVE FORUM FOR EXAMINING FORMAL AND CONCEPTUAL ISSUES IN THE FIELDS OF DESIGN. THE MUSEUM PRESENTED AN IMPRESSIVE NUMBER OF ARCHITECTURE AND DESIGN EXHIBITIONS BEFORE AN OFFICIAL CURATORIAL DEPARTMENT WAS FOUNDED IN 1983. FIVE YEARS LATER, THE MUSEUM BEGAN COLLECTING SIGNIFICANT WORKS OF DESIGN; TO DATE, THERE ARE OVER 6,500 DESIGN WORKS IN THE MUSEUM'S PERMANENT COLLECTION. FEATURING BOTH MODERN AND CONTEMPORARY WORKS, THE COLLECTION FOCUSES ON THE AREAS OF ARCHITECTURE, LANDSCAPE ARCHITECTURE, FURNITURE DESIGN, PRODUCT DESIGN, AND GRAPHIC DESIGN. SFMOMA IS NOW RECOGNIZED AS ONE OF THE FOREMOST MUSEUMS INVESTED IN MODERN AND CONTEMPORARY ARCHITECTURE AND DESIGN; THE COLLECTION IS INTERNATIONAL IN SCOPE WHILE REFLECTING THE DISTINCTIVE CHARACTER OF CALIFORNIA. OVER THE PAST TWO DECADES, THE MUSEUM HAS BUILT SIGNIFICANT HOLDINGS IN CONTEMPORARY EXPERIMENTAL ARCHITECTURE, BAY AREA DESIGN, AND ICONIC FURNITURE AND GRAPHIC DESIGN. DEPARTMENT OF MEDIA ARTS THE SFMOMA DEPARTMENT OF MEDIA ARTS, ESTABLISHED IN 1988, WAS AMONG THE FIRST OF ITS KIND IN THE UNITED STATES. MEDIA ARTS ORGANIZES EXHIBITIONS AND FILM SCREENINGS, AND PARTICIPATES IN RELATED EDUCATIONAL EVENTS AND PUBLICATIONS. THE MEDIA ARTS COLLECTION ENCOMPASSES THE DIVERSITY OF TIME-BASED MEDIA WORKS AND INSTALLATIONS, INCLUDING VIDEO, FILM, SLIDE, SOUND, COMPUTER-BASED, ONLINE PROJECTS AND PERFORMANCES. REFLECTING THE HISTORY OF TECHNOLOGICAL AND CONCEPTUAL DEVELOPMENTS IN ART SINCE THE 1960S, THE MEDIA ARTS COLLECTION AND EXHIBITION PROGRAM FEATURES LOCAL, NATIONAL, AND INTERNATIONAL ARTISTS. BAY AREA ARTISTS ARE ONE ONGOING FOCUS OF THE COLLECTION AND PROVIDE A CONTEXT FOR UNDERSTANDING THE REGION AS A HISTORIC CENTER FOR EXPERIMENTAL MEDIA. ALONG WITH TATE, THE MUSEUM OF MODERN ART, NEW YORK, AND THE NEW ART TRUST, SFMOMA IS AN ACTIVE MEMBER OF MATTERS IN MEDIA ART, AN INTERNATIONAL CONSORTIUM DEDICATED TO ESTABLISHING BEST-PRACTICE GUIDELINES FOR THE CARE, INSTALLATION, AND PRESERVATION OF TIME-BASED MEDIA WORKS. SPECIAL COLLECTIONS IN THE SFMOMA RESEARCH LIBRARY THE SFMOMA RESEARCH LIBRARY HAS ACQUIRED SPECIAL COLLECTIONS MATERIALS SINCE THE MUSEUM WAS FOUNDED. THE SPECIAL COLLECTIONS' HOLDINGS INCLUDE RARE BOOKS, MAGAZINES, JOURNALS AND PRINTED EXHIBITION EPHEMERA, WHICH DOCUMENT THE HISTORY OF MODERN AND CONTEMPORARY ART, DESIGN AND PHOTOGRAPHY. THESE MATERIALS ARE COLLECTED AND PRESERVED FOR THEIR UNIQUE RESEARCH VALUE, AND ARE OFFERED FOR CONSULTATION TO OUR STAFF AND PUBLIC RESEARCHERS. THE SCOPE OF THE LIBRARY'S HOLDINGS MIRROR THE SCOPE OF THE MUSEUM COLLECTION AND SPECIAL COLLECTIONS MATERIALS OFTEN RELATE TO THE MUSEUM'S CONNECTION TO PARTICULAR ARTISTS AND EXHIBITION RESEARCH BY THE MUSEUM'S CURATORS. THE LIBRARY ALSO HOLDS A LEADING COLLECTION OF INTERNATIONAL ARTISTS' BOOKS, WHICH TRACES THE HISTORY OF ARTISTS' EXPERIMENTS WITH PUBLISHING AND BOOKMAKING, PARTICULARLY FROM THE MID-TWENTIETH CENTURY UNTIL THE PRESENT. OTHER COLLECTION STRENGTHS INCLUDE HISTORIC DOCUMENTATION OF EXHIBITION-MAKING IN THE BAY AREA FROM THE EARLY TWENTIETH CENTURY, MODERN AND CONTEMPORARY PHOTOBOOKS, AND INTERNATIONAL PUBLICATIONS RELATING TO INFLUENTIAL MODERN ART AND DESIGN EXHIBITIONS AND EVENTS. THIS COLLECTION CONTAINS OVER 4,000 BOOKS, PERIODICALS AND EPHEMERA FILES. |
| FORM 990, PART III, LINE 4C | EDUCATION AND PUBLIC PROGRAMS EDUCATION AND PUBLIC PRACTICE DEPARTMENT EDUCATION AND PUBLIC PRACTICE IS A CURATORIAL DEPARTMENT OF PEDAGOGICAL AND CULTURAL PROGRAMMING, COMPRISING THREE PORTFOLIOS--SCHOOL INITIATIVES, PUBLIC DIALOGUE, AND PERFORMANCE AND FILM. UNDER THE DIRECTION OF DOMINIC WILLSDON, LEANNE AND GEORGE ROBERTS CURATOR OF EDUCATION AND PUBLIC PRACTICE AT SFMOMA, THE DEPARTMENT IS COMMITTED TO PARTNERING WITH EXTERNAL INDIVIDUALS, GROUPS, AND ORGANIZATIONS; BRINGING TOGETHER MULTIPLE (LOCAL AND GLOBAL) PERSPECTIVES, AND A RANGE OF DISCIPLINES AND PRACTICES, TO EXPLORE THE MEANING OF ART FOR PUBLIC LIFE; ATTENDING TO THE COLLABORATIVE PROCESS, SHARED INQUIRY, AND SUSTAINED RELATIONSHIP-BUILDING, AS MUCH AS TO THE FINAL PRODUCT; AND PRODUCING LIVE AND INTENSIVE PUBLIC ENCOUNTERS, AND ACHIEVING MEANINGFUL PUBLIC IMPACT THROUGH STORYTELLING. SCHOOL INITIATIVES SCHOOL INITIATIVES OFFERS PROFESSIONAL DEVELOPMENT FOR K-12 TEACHERS, ONLINE RESOURCES FOR EDUCATORS, AS WELL AS A RANGE OF OPPORTUNITIES FOR TEACHERS TO ENGAGE THEIR STUDENTS WITH VISUAL ART IN THE CLASSROOM AND IN THE MUSEUM. BAY AREA TEACHERS CAN APPLY TO BRING SFMOMA MUSEUM GUIDES TO THEIR K-6 CLASSROOMS FREE OF CHARGE THROUGH THE ART EXPRESS OUTREACH PROGRAM. GUIDED SCHOOL TOURS, ALONG WITH RESOURCES AND TRAINING FOR TEACHER-LED TOURS, ARE AVAILABLE FREE OF CHARGE. SCHOOL INITIATIVES PARTNERS WITH SELECT SAN FRANCISCO UNIFIED SCHOOL DISTRICT HIGH SCHOOLS, WORKING RESPONSIVELY TO DEVELOP PROGRAMS TAILORED TO THE NEEDS OF STUDENTS AND TEACHERS. IN ADDITION TO ONGOING COLLABORATIONS WITH BALBOA HIGH SCHOOL AND THE RUTH ASAWA SCHOOL OF THE ARTS, SCHOOL INITIATIVES COMMISSIONS ARTIST PROJECTS WITH NON-PARTNER SCHOOLS IN THE BAY AREA. PUBLIC DIALOGUE PUBLIC DIALOGUE EXPLORES THE MEANING AND IMPACT OF MODERN AND CONTEMPORARY ART IN PUBLIC LIFE THROUGH GALLERY TALKS, ARTIST TALKS, GUIDED PUBLIC TOURS, CONTINUING EDUCATION COURSES, HIGHER EDUCATION TOURS, SYMPOSIA, AND COMMISSIONED PROJECTS FROM ARTISTS WORKING IN SOCIAL, DISCURSIVE, OR EDUCATIONAL MODES. IN 2016, PUBLIC DIALOGUE BEGAN A TWO YEAR PARTNERSHIP WITH THE SAN FRANCISCO PUBLIC LIBRARIES. THIS PARTNERSHIP, CALLED PUBLIC KNOWLEDGE, IS A COMMISSIONING PLATFORM THAT CONSIDERS ART AS A FORM OF KNOWLEDGE EXCHANGE, ENGAGING ARTISTS TO CREATE NEW PROJECTS THAT INVITE COMMUNITY PARTICIPATION THROUGHOUT THE CREATIVE PROCESS. AS PART OF THE PROJECT, THE KORET EDUCATION CENTER HAS BEEN TRANSFORMED INTO A NON-LENDING BRANCH OF THE SAN FRANCISCO PUBLIC LIBRARY. PERFORMANCE AND FILM THE PERFORMANCE AND FILM PORTFOLIO STRIVES TO CREATE MULTIFACETED SOCIAL AND EDUCATIONAL EXPERIENCES, OFTEN WITH A SPECIAL FOCUS ON PROGRAMING FOR INTERGENERATIONAL AUDIENCES. PERFORMANCE IN PROGRESS ARTISTS ARE COMMISSIONED TO DEVELOP NEW PERFORMANCE-BASED WORK. PERFORMANCE ALL AGES ARTISTS CREATE PARTICIPATORY WORKS FOR INTERGENERATIONAL AUDIENCES THAT EXPLORE THE CREATIVE PROCESS AND ALLOW PARTICIPANTS TO ENGAGE THE ARTIST DIRECTLY IN A PERFORMANCE-BASED, INTERACTIVE, MUSEUM-WIDE TAKEOVER OVER A FAMILY WEEKEND WHICH INCLUDES A FREE FAMILY DAY. THE MODERN CINEMA FILM PROGRAM FEATURES IN-DEPTH EXPLORATIONS OF WORKS BY KEY FIGURES IN THE HISTORY OF FILMMAKING, PRESENTING SCREENINGS AND RELATED TALKS. MODERN CINEMA IS CO-CURATED WITH THE SAN FRANCISCO FILM SOCIETY. IN ADDITION TO THIS COLLABORATION, SFMOMA PRESENTS PROJECTED-IMAGE WORK, INCLUDING ARTIST-BASED FILMS AND NON-NARRATIVE CINEMA. |
| FORM 990, PART VI, SECTION A, LINE 2 | FAMILY/BUSINESS RELATIONSHIP BETWEEN OFFICER/DIRECTOR/TRUSTEE/KEY EMPLOYEE: CHARLES R. SCHWAB AND KATIE PAIGE -FAMILY RELATIONSHIP ROBERT J. FISHER AND DORIS FISHER - FAMILY RELATIONSHIP JAMES W. BREYER AND JAMES R. SWARTZ - BUSINESS RELATIONSHIP MIMI L. HAAS AND BECCA PROWDA - FAMILY RELATIONSHIP ROSELYNE CHROMAN SWIG AND SUSAN SWIG - FAMILY RELATIONSHIP NORMAN STONE AND NORAH STONE - FAMILY RELATIONSHIP |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FORM 990 IS PREPARED BY AN INDEPENDENT PUBLIC ACCOUNTING FIRM BASED ON AUDITED FINANCIAL STATEMENTS AND WITH THE ASSISTANCE OF THE ORGANIZATION'S FINANCE AND ACCOUNTING STAFF. THE FINAL DRAFT OF THE 990 IS REVIEWED BY THE DEPUTY DIRECTOR OF ADMINISTRATION AND FINANCE, THE DIRECTOR, THE CHAIRMAN OF THE FINANCE COMMITTEE, AND THE AUDIT COMMITTEE. |
| FORM 990, PART VI, SECTION B, LINE 12C | THE ORGANIZATION REGULARLY MONITORS AND ENFORCES COMPLIANCE WITH ITS CONFLICT OF INTEREST POLICY. FOR TRUSTEES, OFFICERS, SENIOR STAFF MEMBERS, AND NON-TRUSTEE VOLUNTEER MEMBERS OF BOARD FIDUCIARY AND ACCESSIONS COMMITTEES, UNDER THE CONFLICT OF INTEREST POLICY, THE EXECUTIVE DIRECTOR'S AND GENERAL COUNSEL'S OFFICE REQUIRE COMPLETION OF AN ANNUAL DISCLOSURE FORM. THE EXECUTIVE DIRECTOR'S OFFICE IN COLLABORATION WITH THE HUMAN RESOURCES DEPARTMENT, ASSURES THAT ALL FORMS HAVE BEEN RECEIVED AND, FOLLOWING CONSULATION WITH LEGAL COUNSEL PREPARES A SUMMARY OF DISCLOSURES AND FORWARDS THE FORMS AND SUMMARY TO THE ORGANIZATION'S LEGAL COUNSEL. ANY ISSUES BROUGHT UP BY THE LEGAL COUNSEL UPON HIS/HER REVIEW OF THE SUMMARY ARE ADDRESSED BY THE DIRECTOR AND/OR THE GENERAL COUNSEL AT THE GOVERNANCE COMMITTEE AND/OR THE EXECUTIVE COMMITTEE MEETING. THE DEPUTY DIRECTOR OF ADMINISTRATION & FINANCE ALSO RECEIVES A COPY OF THE SUMMARY AND REVIEWS ALL FORMS AND IS RESPONSIBLE FOR ASSURING APPROPRIATE REPORTING TO THE EXTERNAL AUDITORS AND DISCLOSURE IN THE ANNUAL TAX FILINGS. ANY RELATED PARTY TRANSACTIONS ARE REVIEWED BY THE BOARD GOVERNANCE COMMITTEE AND THE COMMITTEE'S RECOMMENDATION ARE APPROVED OR DISAPPROVED BY THE FULL BOARD. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE PROCESS FOR DETERMINING THE COMPENSATION OF THE EXECUTIVE DIRECTOR AND OTHER TOP MANAGEMENT OFFICIALS IS AS FOLLOWS: THE MUSEUM WORKS WITH AN OUTSIDE COMPENSATION CONSULTING FIRM TO REVIEW AND BENCHMARK THE MUSEUM'S SALARY LEVELS AGAINST OTHER RELATIVE ARTS AND CULTURAL INSTITUTIONS AND NONPROFITS ON A LOCAL AND NATIONAL LEVEL, AS APPROPRIATE BY POSITION. IN ADDITION, THE MUSEUM PARTICIPATES IN AND USES ANNUAL SURVEY DATA FROM MULTIPLE SOURCES TO DETERMINE SALARY STRUCTURES AND MEDIAN MARKET RATES FOR EACH BENCHMARKED POSITION. SIGNIFICANT SALARY STRUCTURE CHANGES AND INCREASES TO THE SALARIES OF THE EXECUTIVE DIRECTOR AND DEPUTY DIRECTOR OF ADMINISTRATION AND FINANCE ARE RECOMMENDED BY THE HUMAN RESOURCES COMMITTEE AND APPROVED BY THE EXECUTIVE COMMITTEE AS PART OF THE ANNUAL PERFORMANCE REVIEW AND BUDGET PLANNING PROCESS. THE HUMAN RESOURCES COMMITTEE IS COMPRISED OF MEMBERS OF THE BOARD OF TRUSTEES AND IS FACILITATED BY THE CHIEF HUMAN RESOURCES OFFICER. MEETINGS OF THE COMMITTEE ARE HELD A MINIMUM OF TWICE PER YEAR, AND FOCUS ON TOTAL REWARDS AND OTHER RELEVANT HUMAN RESOURCES TOPICS. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE ORGANIZATION MAKES ITS GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, FORM 990 AND FINANCIAL STATEMENTS AVAILABLE UPON REQUEST. |
| FORM 990, PART IX, LINE 24E | INSURANCE AND TAXES: PROGRAM SERVICE EXPENSES 2,156,468. MANAGEMENT AND GENERAL EXPENSES 6,801. FUNDRAISING EXPENSES 6,037. TOTAL EXPENSES 2,169,306. OTHER: PROGRAM SERVICE EXPENSES 1,936,247. MANAGEMENT AND GENERAL EXPENSES 13,169. FUNDRAISING EXPENSES 132,022. TOTAL EXPENSES 2,081,438. EQUIPMENT RENTAL AND MAINTENANCE: PROGRAM SERVICE EXPENSES 1,656,197. MANAGEMENT AND GENERAL EXPENSES 16,280. FUNDRAISING EXPENSES 212,902. TOTAL EXPENSES 1,885,379. UTILITIES: PROGRAM SERVICE EXPENSES 1,690,698. MANAGEMENT AND GENERAL EXPENSES 19,671. FUNDRAISING EXPENSES 20,166. TOTAL EXPENSES 1,730,535. SPECIAL EVENTS: PROGRAM SERVICE EXPENSES 734,357. MANAGEMENT AND GENERAL EXPENSES 153,264. FUNDRAISING EXPENSES 841,844. TOTAL EXPENSES 1,729,465. SUPPLIES: PROGRAM SERVICE EXPENSES 1,319,768. MANAGEMENT AND GENERAL EXPENSES 7,734. FUNDRAISING EXPENSES 20,427. TOTAL EXPENSES 1,347,929. OUTSIDE SERVICES: PROGRAM SERVICE EXPENSES 623,457. MANAGEMENT AND GENERAL EXPENSES 514,954. FUNDRAISING EXPENSES 60,075. TOTAL EXPENSES 1,198,486. POSTAGE: PROGRAM SERVICE EXPENSES 992,367. MANAGEMENT AND GENERAL EXPENSES 24,441. FUNDRAISING EXPENSES 14,771. TOTAL EXPENSES 1,031,579. PRINTING: PROGRAM SERVICE EXPENSES 681,793. MANAGEMENT AND GENERAL EXPENSES 1,767. FUNDRAISING EXPENSES 79,786. TOTAL EXPENSES 763,346. FACILITY: PROGRAM SERVICE EXPENSES 503,619. MANAGEMENT AND GENERAL EXPENSES 12,603. FUNDRAISING EXPENSES 43,883. TOTAL EXPENSES 560,105. BOOKS: PROGRAM SERVICE EXPENSES 137,950. MANAGEMENT AND GENERAL EXPENSES 28,587. FUNDRAISING EXPENSES 13,390. TOTAL EXPENSES 179,927. |
| ELECTION FOOTNOTE: | SECTION 1.263(A)-1(F) DE MINIMIS SAFE HARBOR ELECTION : TAXPAYER IS MAKING THE DE MINIMIS SAFE HARBOR ELECTION UNDER TREAS. REG. 1.263(A)-1(F) FOR ALL ELIGIBLE AMOUNTS PAID OR INCURRED DURING THE TAXABLE YEAR. SECTION 1.263(A)-3(N) CAPITALIZATION ELECTION : TAXPAYER HEREBY ELECTS TO CAPITALIZE REPAIR AND MAINTENANCE COSTS UNDER TREAS. REG. 1.263(A)-3(N). THE COSTS WERE INCURRED DURING THE TAXABLE YEAR IN THE ELECTING TAXPAYER'S TRADE OR BUSINESS AND THE ELECTING TAXPAYER TREATS SUCH COSTS AS CAPITAL EXPENDITURES ON ITS BOOKS AND RECORDS. |
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