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 | |||||
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Total |
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Calendar year
(or fiscal year beginning in)
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(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 9,021,455 | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 66,547,140 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf.... | 0 | |||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | 0 | |||||
| 4 | Total. Add lines 1 through 3 | 9,021,455 | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 66,547,140 |
| 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) .. | 384,742 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 66,162,398 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 9,021,455 | 15,496,726 | 10,761,253 | 17,760,368 | 13,507,338 | 66,547,140 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 2,325,129 | 3,793,629 | 2,339,123 | 1,594,008 | 7,091,043 | 17,142,932 |
| 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.).. | 14,349 | 30,170 | 12,295 | 52,424 | 332,125 | 441,363 |
| 11 | Total support. Add lines 7 through 10 | 84,131,435 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (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 on 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) |
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| 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): |
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| 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 0.015 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 0.035 | 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 | 1 | |
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
2 | |
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | 3 | |
| 4 Amounts paid to acquire exempt-use assets | 4 | |
| 5 Qualified set-aside amounts (prior IRS approval required - provide details in Part VI) | 5 | |
| 6 Other distributions (describe in Part VI). See instructions | 6 | |
| 7Total annual distributions. Add lines 1 through 6. | 7 | |
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
8 | |
| 9 Distributable amount for 2021 from Section C, line 6 | 9 | |
| 10 Line 8 amount divided by Line 9 amount | 10 | |
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2021 |
(iii) Distributable Amount for 2021 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2021 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2021 (reasonable cause required-- explain in Part VI). See instructions. |
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| 3 Excess distributions carryover, if any, to 2021: | ||||
| a From 2016....... | ||||
| b From 2017....... | ||||
| c From 2018....... | ||||
| d From 2019....... | ||||
| e From 2020....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2021 distributable amount | ||||
|
i
Carryover from 2016 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2021 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2021 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2021, 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 2021. 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 2022. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2017..... | ||||
| b Excess from 2018..... | ||||
| c Excess from 2019..... | ||||
| d Excess from 2020..... | ||||
| e Excess from 2021..... | ||||
| Facts And Circumstances Test |
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| Return Reference | Explanation |
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| 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 4A: | 2021 ARTISTIC SEASON Due to city-wide shutdowns and limits on large indoor gatherings in 2021, the Armory embarked on several initiatives to support the artistic community during this devastating time when the job loss in the cultural sector was nearly 70%, and to offer an artistic lens as a safe way to try to understand the incomprehensible. The result was a new "Social Distance Hall" model for commissioning and producing new work that could employ artists and provide hope for the sector. With its flat open floor, state-of-the-art ventilation, multiple entrances, and no fixed seating or stage, the SOCIAL DISTANCE HALL opened in April 2021 to present live performances within strict health and safety regulations. We worked diligently alongside NYS to develop a plan for performances that could be safely experienced by the public - long before traditional venues might be able to return. We reached out to artists in the Armory community and commissioned four new works - the full runs of which each sold out within a day: SOCIAL! THE SOCIAL DISTANCE DANCE CLUB (4/9/21 - 4/22/21): This joyful and irresistible participatory movement experience was conceived by multimedia artist and musician David Byrne (Talking Heads, American Utopia), Tony Award-winning set designer Christine Jones, and choreographer Steven Hoggett. With a playlist curated by the work's creators and mixed by New York City DJ Natasha Diggs, SOCIAL! invited audiences to dance in their own socially distanced spotlights, all while listening to an instructional voiceover by David Byrne with choreography by Yasmine Lee. Moving free-form or in sync with the spoken choreography, audiences took part in a communal moment of cathartic release that was "exhilarating, full of possibility" (New York Times). PARTY IN THE BARDO (5/5/21 - 5/9/21): Multidisciplinary artist and MacArthur "Genius" Jason Moran and multi-Grammy Award-winning performance artist Laurie Anderson performed in the Armory's 55,000-square-foot Wade Thompson Drill Hall underpinned by the soundscape of LOU REED: DRONES, a sonic installation utilizing guitars from Reed's collection and curated by his former guitar technician Stewart Hurwood. Anderson and Moran invited two groups of artists to add their own layer of artistry over the Drones, joining them in these improvisational sonic meditations for the city of New York. AFTERWARDSNESS (5/19/21 - 5/26/21): This powerful new dance work by Bill T. Jones and Janet Wong was created in collaboration with members of the Bill T. Jones/Arnie Zane Company as well as composers/performers Holland Andrews and Pauline Kim Harris. The work addressed the confluence of the Black Lives Matter movement and COVID-19, incorporating the company's own writings while in isolation, vocal and instrumental solos, and choreography based on Bill T. Jones/Arnie Zane Company repertory. The New York Times selected the work as a Critic's Pick, calling the performance "genuine and.resolute in its unwillingness to paint the wrong snapshot of a time.In its best moments, Afterwardsness was fully alive." ENEMY OF THE PEOPLE (6/22/21 - 7/10/21): The Armory commissioned visionary British director Robert Icke (Broadway's 1984) for a new participatory production inspired by Ibsen's An Enemy of the People. Envisioned for a socially distanced time, Icke's thrilling adaptation explored themes in Ibsen's original play that resonate powerfully today: collective responsibility and the complex relationship between scientific expertise and political power, public health and economic growth. The central character played by Ann Dowd (A Handmaid's Tale) is a scientist who discovers that the water supply of her town's precious mineral baths is contaminated. The audience was engaged in the action and asked to weigh in on important decisions through interactive voting devices, allowing each performance to take its own unique path. Vulture declared that the production was "the biggest, fanciest, splashiest in-person indoor theater event in New York since the shutdown,New York Theater called it "the exact right show for this moment." In September 2021, the Armory was thrilled to safely welcome full capacity, masked, and fully vaccinated audiences back to the soaring Wade Thompson Drill Hall, utilizing the Armory's unique assets to present work engaging with the most pressing issues of our time: DEEP BLUE SEA (9/28/21 - 10/9/21): A new commission envisioned by director, choreographer, and dancer Bill T. Jones, Deep Blue Sea was a "breathtaking"visually and sonically stunning" (The New York Times) new movement statement that used the iconic American texts of 'I have a Dream' by Martin Luther King and Moby Dick by Herman Melville as its starting points to explore the relationships of loneliness / aloneness as it pertains to, or contrasts with group identity. The work was choreographed to expand from a rare solo by Bill T. Jones to a company of 100 dancers, evolving from solitary to community action - an exploration of Jones' frequent question: "What does 'we' mean?" To amplify the vastness of the space, the dance was set against an expansive design by Liz Diller (Diller Scofidio + Renfro). Vulture commended the work as "a colossal undertaking both in subject matter, and theatrical scope." THE SHAPE OF THINGS (12/2/21 - 12/31/21): This major new commission by Carrie Mae Weems was her first large-scale multi-media exhibition and the largest display of her new work over the last decade. The Shape of Things was conceived as an ephemeral monument to the complexity of the American experience and a platform for collective investigation and reflection. Vogue hailed Weems' epic exhibition as "a deeply compelling - at moments even revelatory - exploration of our socio-political moment as interpreted by one of our greatest living image-makers." Known for her investigations of social conflict and ability to convene leading thinkers and artists through her work, Weems was uniquely positioned to confront our contemporary moment with this multi-faceted exhibition as well as a weekend-long convening of performances and talks to enrich public conversation, entitled Land of Broken Dreams (December 9 - 11, 2021). In the fall, the acclaimed Recital Series returned to the Board of Officers Room with its gilded age interiors and exceptional acoustics. American tenor Paul Appleby opened the program with an "intelligent and beautifully performed program of German lieder,his performance was named a New York Times Critic's Pick (9/20/21 & 9/22/21). Baritone Will Liverman brought his "velvet voice" (NPR) for a performance highlighting German lieder alongside songs by Black composers like Damien Sneed and Brian McKnight, prompting high praise from The New York Times' Anthony Tommasini for an original arrangement: many opera singers have that skill, let alone the courage." (10/10/21 - 10/11/21) Lastly, the "divine operatic mezzo Jamie Barton" (The New York Times) partnered with Jake Heggie on a program with special attention to female composers (11/19/21 & 11/21/21). In the restored Veterans Room, the eclectic Artists Studio series, curated since 2016 by MacArthur "Genius" Jason Moran, featured sculptor Carol Szymanski and trumpeter Jaimie Branch and an aural animation of 26 sculpted brass horns whose shapes were based on the alphabet (10/31/21). |
| FORM 990, PART III, LINE 4A (CONTINUED) | ARTS EDUCATION AT THE ARMORY Utilizing our magnificent historic building and unique visual and performing arts programming, Park Avenue Armory's Arts Education Program serves thousands of students from underserved New York City public schools from all five boroughs through a wide range of opportunities to be immersed in the creative process of diverse world-class artists. The Arts Education Program has three main components: (1) Production-based Programming, in which students attend major productions of music, theater, dance and visual art, and participate in pre- and post-visit workshops with the Armory's talented corps of teaching artists; (2) Partner School Program, in which deeper relationships with schools are created through attendance at productions, in-school residencies and end-of-term events at the Armory; and (3) the Armory Youth Corps, a paid and closely mentored internship program focusing on students from underserved NYC public schools. Armory Arts Education programs are offered at no cost to students or schools and are developed in alignment with the NYS Next Generation Learning Standards and the NYC Blueprint for the Arts. In 2021, the Armory adapted the Arts Education program's core values and creative methodology to remote and hybrid learning, pivoting to meet new circumstances with an unwavering commitment to the principles of unbounded creativity, community, and flexible support for NYC public school students and teachers. Through Production-Based Programs, Armory staff and teaching artists provided opportunities for community, creativity, and connection, reaching 3,477 students through live instruction workshops (remote in the spring, hybrid during the fall), and 2,150 students through a new Creative Arts Journal. Virtual Production-Based Programs were in high demand, engaging students through remote workshops and virtual student matinees inspired by the Armory's productions, including Bill T. Jones' Deep Blue Sea, Trustee Sidekick Theater Company's The Mendelssohn Electric, jaimie branch and Carol Syzmanski's Artists Studio performance, and the Armory's 100 Years | 100 Women Project Archive. The Partner School Program offered curriculum enrichment at no cost to 7 participating Title I schools, focusing on underserved NYC public schools that lack access to art programs. Partner School Residencies explored the concepts of community, inspired by the process behind the creation of Bill T. Jones' Deep Blue Sea; the current political landscape through Carrie Mae Weems' exhibition The Shape of Things; artistic practices of Armory Artist-in-Residence Theaster Gates; and the Creative Arts Journal. The Armory Youth Corps Program remained committed to its core mission and values, continuing to develop rigorous, highly mentored, and paid internship opportunities customizable to each student's unique interests, goals, and learning style. DESIGN AND CONSTRUCTION Since 2007, Park Avenue Armory has been consistently working to revitalize this significant historic landmark through an ambitious program of restoration and renovation with a world-class team of architects, engineers, and conservators. From the start, our initial projects focused on stabilizing the building, adding essential upgrades to the infrastructure, and making it safe. With these early phases underway, the Armory opened to the public and began to explore its unique potential as an unconventional platform for world-class artists pursuing expanding the boundaries of their artistic practice. Due to the COVID crisis, capital projects were put on hold in 2021. |
| FORM 990, PART VI, SECTION B, LINE 11B: | A DRAFT FORM 990, PREPARED BY AN INDEPENDENT ACCOUNTING FIRM BASED ON INFORMATION PROVIDED BY MANAGEMENT, IS SUBMITTED TO THE CEO/CFO AND PRESIDENT FOR REVIEW. UPON APPROVAL, THE DRAFT FORM 990 IS PROVIDED TO THE FINANCE/AUDIT COMMITTEE OF THE BOARD FOR REVIEW, COMMENT, AND APPROVAL. UPON THE FINANCE/AUDIT COMMITTEE'S APPROVAL, THE FORM 990 IS PROVIDED TO THE FULL BOARD, PRIOR TO ITS ELECTRONIC FILING WITH THE INTERNAL REVENUE SERVICE. |
| FORM 990, PART VI, SECTION B, LINE 12C: | ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE REQUIRED TO COMPLETE A CONFLICT-OF-INTEREST DISCLOSURE FORM ON AN ANNUAL BASIS. ANY POTENTIAL CONFLICTS REPORTED IN THE DISCLOSURE FORMS ARE REVIEWED BY THE FINANCE/AUDIT COMMITTEE OF THE BOARD. ANY CONFLICT THAT BECOMES KNOWN DURING THE YEAR SHALL BE REPORTED TO THE FINANCE/AUDIT COMMITTEE. THE EVALUATION AND RESOLUTION POLICIES OUTLINED IN THE CONFLICT-OF-INTEREST POLICY SHALL BE APPLIED. |
| FORM 990, PART VI, SECTION B, LINE 15A: | COMPENSATION OF THE PRESIDENT IS SUBJECT TO REVIEW AND APPROVAL BY THE EXECUTIVE COMMITTEE OF THE BOARD. THE CO-CHAIRS OBTAIN COMPENSATION INFORMATION FROM INDEPENDENT SOURCES WHICH SERVE AS THE BASIS FOR COMPENSATION OFFERED TO THE EXECUTIVE POSITION IDENTIFIED ABOVE. |
| FORM 990, PART VI, SECTION B, LINE 15B: | COMPENSATION OF OTHER OFFICERS AND KEY EMPLOYEES is determined by use of comparable data and IS REVIEWED AND APPROVED BY THE PRESIDENT OF THE ORGANIZATION. |
| FORM 990, PART VI, SECTION C, LINE 19: | THE ORGANIZATION'S GOVERNING DOCUMENTS, CONFLICT OF INTEREST POLICY, AND FINANCIAL STATEMENTS ARE MADE AVAILABLE TO THE PUBLIC UPON REQUEST. |
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| Software Version: |