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.") .. | 279,348,687 | 343,470,192 | 245,041,493 | 194,219,691 | 307,540,922 | 1,369,620,985 |
| 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.. | 17,908,833 | 16,194,609 | 14,685,720 | 12,711,126 | 12,725,626 | 74,225,914 |
| 4 | Total. Add lines 1 through 3 | 297,257,520 | 359,664,801 | 259,727,213 | 206,930,817 | 320,266,548 | 1,443,846,899 |
| 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) .. | 113,643,363 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 1,330,203,536 | |||||
Calendar year
(or fiscal year beginning in)
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(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 297,257,520 | 359,664,801 | 259,727,213 | 206,930,817 | 320,266,548 | 1,443,846,899 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 44,924,524 | 45,146,385 | 50,863,902 | 36,502,901 | 33,295,493 | 210,733,205 |
| 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.).. | 0 | |||||
| 11 | Total support. Add lines 7 through 10 | 1,654,580,104 | |||||
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 | |
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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 | |
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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 | ||||
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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 - PROGRAM SERVICES | MISSION AND ACCOMPLISHMENTS The Metropolitan Museum of Art was founded on April 13, 1870, with a statement of purpose that has guided it for over 150 years: "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction." The Met is devoted to a universal collection of art in the service of the public. During the 2022 strategic-planning process, the need for an updated, more inclusive and welcoming mission statement with a more tightly articulated expression of that purpose became apparent. To that end, on May 10, 2022, the Trustees of The Metropolitan Museum of Art reaffirmed the above statement of purpose and supplemented it with the following statement of mission: "The Metropolitan Museum of Art collects, studies, conserves, and presents significant works of art across time and cultures in order to connect all people to creativity, knowledge, ideas, and one another." In fiscal year 2022, following a historically turbulent period across all areas -- financial, structural, and societal -- The Metropolitan Museum of Art demonstrated that it is not only an institution of great resilience but also one of tremendous vision and forward momentum. It was a landmark year, with The Met demonstrating both excellence and a profound sense of its mission across a range of accomplishments. We introduced multiple initiatives featuring increased interdisciplinary presentations of works that provide new, multifaceted narratives and interpretations of art and history, and also launched several major transformative capital projects -- a full reimagining of our Modern Wing; a reenvisioning of the Michael C. Rockefeller Wing, which houses the Museum's collections of art from sub-Saharan Africa, Oceania, and the ancient Americas; and renovating the Ancient Near Eastern and Cypriot Art Galleries. We made, and continue to make, significant progress on our commitment to equity and diversity. We also approved a new Strategic Plan in May. The five-year plan, described below, seeks to advance the Museum's mission in new directions while honoring our historic commitments to scholarship, education, conservation, public service, and one another. As we enter a new fiscal year, we remain vigilant in response to the ongoing pandemic and are benefiting from unprecedented financial support for the Museum. A spirit of innovation is evident across all of our programming and, most importantly, every day we welcome visitors with joy both on-site and virtually. We are in a strong place operationally -- poised to make key investments in our workforce, infrastructure, and capital projects -- with momentum in advancing a new and exciting programmatic vision informed by an unparalleled collection spanning 5,000 years of creativity, growing visitation, and prudent financial management. The last two years have demonstrated humanity's profound global interdependence. The Met's global reach may serve to underscore those connections across time and geography, and we look to the future with a renewed sense of purpose and a deepened commitment to The Met's core mission of service to our local communities and to the larger world. STRATEGIC PLAN Our new Strategic Plan for 2022-27 articulates a vision of what it means to become a universal art museum with inclusivity as a core strength of our collections and a primary objective in our work. It defines six goals, supported by strategies and priority initiatives, that will help us realize that vision: 1) Build a universally relevant institution that connects to contemporary audiences and reaffirm our commitment to scholarship; 2) Increase and promote the Museum's global presence; 3) Deepen the Museum's relationship with local communities; 4) Strengthen The Met as a professional community and workplace; 5) Enhance the presentation, protection, and preservation of the collection; and 6) Maintain sustainable approaches to financial management, operations, and facilities. The plan re-flects input and feedback from the Museum's staff, who played a significant role in formulating our five core values: Respect -- Engage one another with collegiality, empathy, and kindness, always; Inclusivity -- Ensure that all are and feel welcome and valued; Collaboration -- Reach across boundaries to exchange ideas and work together toward our shared mission; Excellence -- Lead the cultural world in quality and expertise, and inspire curiosity and creativity; and Integrity -- Hold ourselves to the highest moral standards, admit when we fall short, and then evolve. The Museum's new Strategic Plan renews our focus on the permanent collection with opportunities to display, connect, and contextualize these works in more complex, multifaceted, and engaging ways, and captures our aim to balance our ambition with empathy as well as our commitment to the present with the goal of being sustainable across generations. The strategies and initiatives it outlines will be the focus of our activity over the next five years. Much of the work is already under way while other initiatives are phased and will be carried out over a longer time horizon. The initiatives will be supported by resources drawn from our existing budgets and new funds. ON-SITE ATTENDANCE In fiscal year 2022, the Museum made steady and significant progress toward regaining the high visitor levels it experienced pre-COVID, when The Met saw record annual attendance in fiscal year 2019, with over 5.3 million ticketed visitors (at The Met Fifth Avenue and The Met Cloisters). In fiscal year 2021, after closing for several months and then greatly limiting attendance with fewer open days and hours, we welcomed 1.2 million ticketed visitors. This past fiscal year, despite several more COVID waves, continued travel restrictions, and a range of other external challenges, Museum attendance more than doubled compared to fiscal year 2021, to 2.9 million ticketed visitors (including 180,000 at The Met Cloisters). The Met historically is one of New York's most visited tourist attractions for domestic and international audiences, and this year, after two years of reduced international and domestic tourism, visitor categories --international, domestic, tristate, and local -- began returning to pre-pandemic proportions, driven primarily by strong recovery in domestic tourism but also notable recovery in international tourism. This year, local visitors made up 42 percent of our attendance, compared to 39 percent pre-COVID; tristate visitors made up 13 percent, compared to 11 percent pre-COVID; domestic visitors (outside the tristate area) 32 percent, compared to 22 percent; and international visitors 13 percent, compared to 28 percent. A further milestone in our recovery, in September 2021 we increased our open days from five to six, adding Tuesday, and resumed Friday and Saturday evening hours. Through our Date Night at The Met initiative, which features informal gallery chats, live music, drink specials, and more, our weekend evening attendance significantly increased, even exceeding pre-pandemic levels on many days. |
| FORM 990, PART III - PROGRAM SERVICES | COLLECTION AND ACQUISITIONS Spanning more than 5,000 years of creativity, the Museum's permanent collection is the heart of The Met. Our world-class programming, both in the galleries and virtually, depends on a collection that can speak to the broadest possible audience through new connections that we make between our objects and the issues of our time. In fiscal year 2022, we enhanced The Met collection through a number of key acquisitions that will allow us to elevate work by underrepresented artists, deepen our holdings, and present more diverse narratives. Key acquisitions included: the vast archive of the renowned American photographer James Van Der Zee (1886-1983) -- some 20,000 prints, 30,000 negatives, studio equipment, and ephemera -- through a landmark partnership with The Studio Museum of Harlem; for the Department of Modern and Contemporary Art, a significant portrait, titled Uncle Bob, by Archibald Motley, Jr. (1891-1981), a key, Chicago-based figure integral to the Harlem Renaissance of the 1920s-1940s; for the American Wing and our new Native arts program, a Yup'ik mask from about 1900, made of wood, pigment, and vegetal fiber, and depicting the artist's vision of the universe; for the Department of Drawings and Prints, an important work by the Norwegian artist Edvard Munch (1863-1944), an early study, Night in Saint-Cloud that dates from a transformational two-year period during which the artist lived and trained in France; for the Department of European Sculpture and Decorative Arts, an extremely rare bronze roundel, with its original gilding and silver inlay, attributed to the goldsmith-sculptor Gian Marco Cavalli (ca. 1454-after 1508) and produced within the refined culture of the Northern Italian Gonzaga court in Mantua; for the Department of Asian Art, a rare Tibetan painting from the early 15th century depicting the Buddhist protective deity Vaishravana, a premier guardian of Buddhist law and a protector of riches as well as a complex deity who embodies many strands of Buddhist thought and belief; and for the Department of European Paintings, an exceptional painting titled The Agony in the Garden, by Nicolas Poussin (1594-1665), a French artist who changed the course of European painting and set the terms for subsequent generations of artists, which brings The Met's holdings of paintings by Poussin to seven, making it the largest and most comprehensive collection of his work outside Europe. EXHIBITIONS AND PUBLICATIONS In a year that demonstrated The Met's distinctive resilience, as well as the continued innovation and ambition behind our programming overall, our exhibition team mounted 31 exhibitions and installations, ranging from small collection-focused presentations to major international loan shows. The lineup featured diverse subject matter and themes, multiple viewpoints, and new connections both across cultures and across our collection. Many of the year's presentations were model examples of what only The Met can do. The following exhibitions were among the highlights in fiscal year 2022: The New Woman Behind the Camera; Selections from the Department of Drawings and Prints: Revolution, Resistance, and Activism; Companions in Solitude: Reclusion and Communion in Chinese Art; Jules Tavernier and the Elem Pomo; Spain, 1000-1200: Art at the Frontiers of Faith; In America: A Lexicon of Fashion; Surrealism Beyond Borders; Before Yesterday We Could Fly: An Afrofuturist Period Room; Gifts from the Fire: American Ceramics from the Collection of Martin Eidelberg; Modern Times: British Prints, 1913-1939; Cruel Radiance: Photography, 1940s-1960s; Alter Egos | Projected Selves; Inspiring Walt Disney: The Animation of French Decorative Arts; Shell and Resin: Korean Mother-of-Pearl and Lacquer; The African Origin of Civilization; Charles Ray: Figure Ground; Jacques Louis David: Radical Draftsman; In the Orbit of Jacques Louis David: Selections from the Department of Drawings and Prints; Amar Kanwar: "The Lightning Testimonies Fictions of Emancipation: Carpeaux Recast; Samurai Splendor: Sword Fittings from Edo Japan; Winslow Homer: Crosscurrents; Louise Bourgeois: Paintings; In Amer-ica: An Anthology of Fashion; Kimono Style: The John C. Weber Collection; Water Memories; and Art Work: Artists Working at The Met. European Masterpieces from The Metropolitan Museum of Art traveled to two venues in Japan: the Osaka City Museum of Fine Arts (November 13, 2021-January 16, 2022) and The National Art Center, Tokyo (February 9-May 30, 2022). The Publications and Editorial Department saw excellent recovery in fiscal year 2022, with a pre-pandemic-level output of 21 new titles and several reprints. Among these were 12 exhibition catalogues, notably including the highly acclaimed Surrealism Beyond Borders; Inspiring Walt Disney, which went into two printings; and Winslow Homer: Crosscurrents. The department also published the long-awaited collection catalogue Italian Renaissance and Baroque Bronzes in the Metropolitan Museum of Art, available as a free digital publication through the department's online platform, MetPublications, which now provides free remote access to over 1,700 Met books and articles. And we released the annual Metropolitan Museum Journal and four issues of the Bulletin, including Before Yesterday We Could Fly: An Afrofuturist Period Room, which featured the Museum's first specially commissioned graphic novel. |
| FORM 990, PART III - PROGRAM SERVICES | DIGITAL - CONTENT, PARTNERSHIPS, AND SOCIAL MEDIA Expanding our global reach through engaging digital content and virtual programming is an indispensable part of our work, and our achievements in this area in fiscal year 2022 underscore the Museum's readiness to continue to find new ways to incorporate digital tools and state-of-the-art technology into all of our programming. The Museum's website ended the fiscal year with over 28 million visits, of which nearly 12 million were international users. The Perspectives content hub -- with virtual gallery tours and exhibition openings, event videos, and Close Look articles -- saw over 1 million visitors in fiscal year 2022. In January, we launched a new series, Spotlight, that features new examinations of a single work of art from The Met collection and that visitors can encounter both onsite and online. The Museum's program of virtual exhibition tours continued to grow, with nine video tours drawing over half a million views during fiscal year 2022. The first season of #MetKids Microscope launched in August 2021 with six episodes. Through kid-geared animated videos, it looked engagingly at the science behind the art. The series had over 100,000 views on YouTube and was also an official nominee for a Webby award. We also launched two new podcast series. Frame of Mind debuted in February 2022 and explores connections between art and wellness from a range of individual experiences and perspectives over 11 episodes. The second, Immaterial, launched in May and explores how the materials used to make art can yield insights about the larger world. Both podcasts are available for free on The Met's website and on demand across all major podcast platforms. A new web-based feature that allows visitors to use their smartphones to listen to Audio Guide content related to The Met collection debuted in August 2021. With an easy-to-use interface, it gives our onsite visitors easier access to audio content and more control over their listening experience. In fiscal year 2022, we produced Audio Guides for several major exhibitions. For Black History Month, the Museum partnered with Google Arts & Culture to promote the long-term installation Before Yesterday We Could Fly: An Afrofuturist Period Room on their platform. It included an exhibition tour and 11 artist videos, along with other media. We also continued our partnership with the Wikimedia Foundation. Use of the Museum's public domain images across Wikipedia continues to grow, with over 25 million page views per month of articles that feature images from The Met collection. With continued growth on our social media channels, including on TikTok and among our 32 departmental Instagram accounts, we remain the second-most followed museum in the world, with more than 11 million followers. This fiscal year we expanded to include a range of new partnerships and offerings, including: a four-part series with the irreverent medieval satirist Greedy Peasant; a five-month collaboration with the Studio Museum to showcase the James Van Der Zee archive; and smaller, one-off partnerships with the Public Art Fund, New York City Ballet, and other peer institutions. In spring 2021, The Met partnered with TikTok to go live for International Museum Day and we continue to expand our short-form video program. Other ongoing priorities include uplifting the perspectives of Deaf and Disabled artists through our #MetAccess series as well as showcasing living artists as part of the Museum's heritage month programming and in relation to exhibitions. These efforts included a 12-part video interview series with artists featured in the Afrofuturist period room installation. The Museum's email marketing channel now reaches over 2.5 million people, up from just over 2 million last year, and continues to be a highly effective means to share exhibition, education, press, retail, membership, and development messages as well as digital content. This year, our email messages featured and uplifted more diverse voices, content, and events during heritage months and throughout the year. EDUCATION In a year marked by shifting COVID-19 health and safety protocols and the need to be nimble, our Education Department presented a wide range of virtual events as well as in-person and hybrid programming. In fiscal year 2022, 8,930 onsite events drew 152,822 visitors, while 6,603 online and hybrid events engaged 694,487 people worldwide. After nearly a year of all-virtual programming, in October 2021 we hosted MetFest, our first-ever Museum-wide block party with programming both outside and inside The Met Fifth Avenue. Originally conceived to mark the Museum's 150th anniversary in spring 2020, the daylong event was reimagined as a community-centered festival to signal the vibrancy of museums and cultural institutions for New Yorkers. A multidepartment collaboration with over 120 performances, gallery and behind-the-scenes tours, staff talks, and art-making and interactive activities, it drew nearly 20,000 visitors of all ages and abilities, with over 15,000 joining online. Other large-scale annual events, including Lunar New Year Festival, Garden Day at The Met Cloisters, and Museum Mile Festival, drew almost 6,500 in person and over 30,200 online. Regular in-person programs also resumed in fall 2021, including public tours of The Met collection and a new series of drop-in, informal gallery chats. We also welcomed the return of our international fellows, with 66 scholars from 19 different countries joining us to engage in research and projects in 25 departments across the Museum. The Met is equally dedicated to serving as a cultural and social hub for young people, and last spring we welcomed over 2,600 teens back onsite for the annual Museum-wide Teens Take The Met! event for an evening of performances, interactive conversations, art-making activities, and more. For families with younger children, we expanded onsite creativity and art-making opportunities through three semesters of Children's Classes per year and new weeklong school-break camps. Following last year's drive to fully fund undergraduate and graduate internships, thereby removing financial barriers to students' participation in order to diversify and develop the museum field, this year we focused on further diversifying the high school internship cohort by trying to reach students in New York City and the tristate area with the most need. As a result, 96 percent of our high school interns attended public schools across the City, the highest we have seen in recent years. We also made our fellowship application process more equitable and inclusive by developing a more considered and transparent system of evaluation to accommodate those with nontraditional backgrounds. Our ongoing community outreach and engagement efforts this year included the publication of The Power of Many: A Collaborative's Journey toward Social Justice and Creative Practice, cowritten by a cohort of professionals drawn from the Collaborative for Creative Practice and Social Justice, a group of 21 arts and culture organizations across New York City, including The Met, who work toward social justice through a variety of arts-based practices. Collaborating with artists is critical to our audience engagement. Through our Civic Practice Partnership we continued to connect ambitious collaborative social justice-oriented art projects with New York City communities. In fiscal year 2022, Miguel Luciano, Civic Practice Partnership Artist in Residence for 2017-21, culminated his residency that focused on researching the historic connections between The Met and the East Harlem community with a block party celebrating his exhibition Cem-Libre at Hope Community Inc.'s Galera del Barrio. |
| FORM 990, PART III - PROGRAM SERVICES | The year saw a number of panels, talks, and symposia that presented important perspectives on exhibitions and The Met collection, as well as made connections to relevant contemporary issues. A talk with New York University's Kwame Anthony Appiah, Professor of Philosophy and Law, focused on the complex interactions between cultural heritage and questions of identity, memory, and community in various African nations, where new spaces highlight the relationship between place, memorialization, and time. A panel in conjunction with the exhibition Winslow Homer: Crosscurrents featured scholars and artists discussing Homer's iconic painting The Gulf Stream and its intersecting themes of race, politics, and environment in the context of the Atlantic world. A virtual two-day symposium related to the exhibition Surrealism Beyond Borders featured leading scholars and artists exploring how the "movement" of Surrealism should be reconsidered across boundaries of geography and chronology rather than examined primarily from a Western European perspective. In conjunction with Fictions of Emancipation: Carpeaux Recast, a panel of scholars investigated Western sculpture in relation to the histories of transatlantic slavery, colonialism, and empire in a daylong hybrid symposium, and Education partnered with the Departments of European Sculpture and Decorative Arts, Design, and Publications and Editorial to develop a reflection space in the exhibition where visitors could engage with the research and provide responses. And last spring, our fellows shared their research with the public in a reimagined series of virtual and onsite sessions called Research Out Loud that reached over 1,500 in 43 countries and also featured gallery talks and a musical performance. Collaborations that focused on alternative ways of learning included, with the Department of Scientific Research, Sniffing Out the Art: Exploring the Role of Olfaction in Museums, an interactive virtual seminar with international guest speakers that explored the olfactory heritage in museum scholarship, display, and interpretation; and a Lunch and Learn series of professional training webinars with guest speakers to inform our work with young people. The year also included a sustained focus on health and wellness. Leading voices in healthcare, cultural organizations, government, and the United Nations were part of a hybrid symposium The Met presented with World Health Organization (WHO) Arts and Health Program in partnership with New York University, Johns Hopkins University, and various health and research organizations. It explored how vital the arts are to our physical, mental, and social health and reached an in-person and online audience of over 7,500. In addition, we prioritized a Social and Emotional Learning (SEL) skill development project to improve resilience and connectedness in NYC District 75 schools that meet the needs of students with significant disabilities; published Social and Emotional Learning Through Art: Lessons for the Classroom, centered on the virtual art-based workshops we implemented in spring 2021 with Met teaching artists and teachers and students in five such schools; and published an online educator resource with 30 lessons built on primary SEL competencies and based on The Met collection. In continued support of senior adults, in partnership with Citymeals on Wheels we distributed five new thematic Your Met Art Box packages based on The Met collection to 1,500 meal recipients and their Friendly Visiting Volunteers. The Museum's reputation as a vital resource for teaching, training, and learning at all levels was bolstered in fiscal year 2022 with over 64,600 K-12 teachers and students nationwide taking part in 5,580 virtual and 6,498 in-person guided tours of The Met collection, and 45,249 in self-guided tours. In addition, 2,817 teachers and school leaders participated in programs focused on integrating art into the classroom. In the area of multidisciplinary art learning, this year we also launched MetSTEAM, an initiative to integrate science, technology, engineering, arts, and math concepts into the Museum's educational programming. In collaboration with the Scientific Research, Conservation, Imaging, and Digital Departments, as well as partner institutions with established STEM and STEAM programs, we engaged in research and pilot activity to determine curricular needs. As part of this work, which included focus groups with teachers and school administrators, we offered The Art and Science of Materials, a three-part pilot educator. LIVE ARTS As concert stages reopened, MetLiveArts returned with live performances while continuing to produce free, accessible, and high-impact digital content for audiences near and far. Programming for fiscal year 2022 spanned genres, formats, and centuries, and several MetLiveArts productions received high praise from critics, including actor Gavin Creel's performance in October 2021 of an original song cycle, Walk on Through, and Heartbeat Opera's novel take on Beethoven's only opera, Fidelio, in February 2022. There were several world premieres, including a series of four new choreographic creations by 2020-21 Artist in Residence Bijayini Satpathy (who culminates her residency in fiscal year 2023); Life Returns, an evening-length work of musical fusion by composer-saxophonist Matthew Evan Taylor; and a world premiere from Estonian composer Arvo Prt in the Temple of Dendur. MetLiveArts also presented several gallery-based performances, including a two-day event at The Met Cloisters by The Clarion Choir and Orchestra that featured multiple performances across The Met Cloisters galleries, public spaces, and gardens. In June, we presented a concert honoring the diverse musical traditions of Ukraine, with all concert proceeds going to Ukrainian museums and museum workers. The year in MetLiveArts also featured rich programming for Black History Month, Asian American and Pacific Islander Heritage Month, and Pride Month. CONSERVATION AND RESEARCH The Museum's curatorial programs are supported by numerous services and resources. The Departments of Paintings, Paper, Objects, Textile, and Photographs Conservation along with Scientific Research prepare and review every artwork selected for an exhibition or loan. The Met's conservation effort ranks with the best of the world's major museums. The Thomas J. Watson library houses valuable research material available to the staff and public for curatorial, education, and publication projects, and our rigorous collection efforts go hand in hand with our work to deepen and disseminate knowledge across a breadth of disciplines. The Museum's Thomas J. Watson Library also made great strides this year, expanding and promoting access to the library's collection of scholarly material by or featuring underrepresented and marginalized artists and artistic traditions. The Library was also awarded a National Endowment for the Humanities Grant to assess, expand, and promote access to the library's collection of publications by and about Indigenous American, Hispanic American/Latino(a/x), and Asian American/Pacific Islander artists. The Library saw 8,268 visits by outside researchers in fiscal year 2022 and registered 1,716 new outside researchers. The Museum libraries circulated 41,523 items to readers and continued to digitize rare collection materials, both printed and manuscript, and to make them available online, averaging 185,974 hits per month. |
| CAPITAL PROJECTS | The Museum's Construction Department had an extremely busy year, with numerous capital projects in active construction and design phase and others in the planning stage. Our vision for the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing -- a full reimagining of our modern and contemporary art galleries -- will be realized by Mexico City-based architect Frida Escobedo, who was selected following a comprehensive international search. Early concept planning is now under way for the new wing, which will encompass 80,000 square feet of galleries and public space. Renovation of the Michael C. Rockefeller Wing -- our project to reenvision how we display the Museum's collections of the art of sub-Saharan Africa, Oceania, and the ancient Americas -- is also fully under way following the closure of the wing in summer 2021. The galleries are now demolished and our design team of Beyer Blinder Belle as executive architect and WHY Architecture as design architect continue to oversee the project. The new galleries are expected to open in early 2025. Announced in February 2022, the project to completely renovate our galleries for Ancient Near Eastern and Cypriot Art will introduce an innovative and forward-thinking approach to presenting art from a vast region that includes ancient Iraq, Iran, Turkey, Syria, the Eastern Mediterranean coast, Yemen, and Central Asia. The Museum selected the Boston-based architectural firm NADAAA, led by principal designer Nader Tehrani, for the 15,000-square-foot project, which will also include spaces for discourse and discussion. Deinstallation of the galleries began in August 2022 and construction is expected to begin in late 2023, with the new galleries scheduled to open in 2025. The Museum also announced this year a redesign of the children's education space in the Nolen Library. Called the 81st Street Studio, the reimagined space will provide children ages 3 to 11 and their caregivers with dynamic drop-in experiences that encourage making, investigation, critical thinking, and more. The new space is expected to open in summer 2023. Phase two of the European Paintings Galleries Skylights Project saw significant progress this year, following the completion of the project's first phase in December 2020. Construction on the remaining galleries is substantially complete and will soon be handed over to the Department of European Paintings for art installation. The galleries will open to the public in November 2023. Upgrades to the Museum's electrical and mechanical infrastructure also continue throughout the campus, including the completion of significant upgrades to our air quality in response to the COVID-19 pandemic and extensive electrical upgrades that are nearing completion. |
| FORM 990, PART VI, LINE 1A - VOTING RIGHTS | GOVERNING BODY DELEGATED AUTHORITY IN ACCORDANCE WITH THE MUSEUM'S BY-LAWS, THE EXECUTIVE COMMITTEE HAS THE RIGHT TO EXERCISE ALL THE POWERS OF THE BOARD OF TRUSTEES DURING INTERVALS BETWEEN MEETINGS OF THE BOARD OF TRUSTEES OTHER THAN THE POWERS TO (A) FILL VACANCIES IN THE BOARD OF TRUSTEES OR IN ANY COMMITTEE; (B) AMEND OR REPEAL THE BY-LAWS OR ADOPT NEW BY-LAWS; (C) AMEND OR REPEAL ANY RESOLUTION OF THE BOARD OF TRUSTEES WHICH BY ITS TERMS SHALL NOT BE SO AMENDABLE OR REPEALABLE; (D) ELECT OR REMOVE TRUSTEES OR OFFICERS; (E) APPROVE A MERGER OR PLAN OF DISSOLUTION; (F) ADOPT A RESOLUTION AUTHORIZING ACTION ON THE SALE, LEASE, EXCHANGE OR OTHER DISPOSITION OF ALL OR SUBSTANTIALLY ALL THE ASSETS OF THE MUSEUM; OR (G) APPROVE AMENDMENTS TO THE CHARTER. |
| FORM 990, PART VI, LINE 2 - FAMILY OR BUSINESS RELATIONSHIP | THE FOLLOWING TRUSTEES OF THE MUSEUM HAVE BUSINESS RELATIONSHIPS WITH EACH OTHER: (A) JAMES BREYER AND HAMILTON JAMES, AND (B) BLAIR EFFRON AND SACHA LAINOVIC. |
| FORM 990, PART VI, LINE 6 - MEMBERS OF THE ORGANIZATION | GOVERNING BODY AND MANAGEMENT THE MUSEUM DOES NOT HAVE "MEMBERS" AS SUCH TERM IS DEFINED IN THE INSTRUCTIONS TO FORM 990. HOWEVER, THE MUSEUM USES THE TERM "MEMBERS" IN CONNECTION WITH DUES, FEES, GOODS, BENEFITS, PRIVILEGES AND SERVICES AS ESTABLISHED BY THE MUSEUM FROM TIME TO TIME. |
| FORM 990, PART VI, LINE 11B - REVIEW PROCESS | PROCESS THE ORGANIZATION USES TO REVIEW THE FORM 990 THE MUSEUM'S FORM 990, INCLUDING REQUIRED SCHEDULES AND SUPPORTING DOCUMENTATION, IS INITIALLY COMPILED BY THE MUSEUM'S FINANCE DEPARTMENT PRIMARILY RELYING ON THE MUSEUM'S GENERAL LEDGER, AUDITED FINANCIAL STATEMENTS AND OTHER FINANCIAL SYSTEMS. THE MUSEUM'S CONTROLLER, CHIEF FINANCIAL OFFICER, AND GENERAL COUNSEL PARTICIPATE IN A SERIES OF DETAILED REVIEWS OF THE FORM 990. THE FORM 990 IS ALSO REVIEWED BY THE MUSEUM'S SENIOR MANAGEMENT, INCLUDING THE MUSEUM'S PRESIDENT AND DIRECTOR, AND THE AUDIT COMMITTEE OF THE MUSEUM'S BOARD OF TRUSTEES. A COMPLETE COPY IS PROVIDED TO EACH MEMBER OF THE BOARD OF TRUSTEES PRIOR TO FILING THE RETURN. THE MUSEUM'S EXTERNAL TAX ADVISORS FILE THE FORM 990 ELECTRONICALLY WITH THE INTERNAL REVENUE SERVICE. |
| FORM 990, PART VI, LINE 12C - CONFLICT OF INTEREST | THE MUSEUM REGULARLY AND CONSISTENTLY MONITORS AND ENFORCES COMPLIANCE WITH ITS CONFLICT OF INTEREST POLICY BY REQUIRING ONGOING DISCLOSURE OF POTENTIAL CONFLICTS, REVIEW OF SUCH DISCLOSURES, AND RECUSAL BY CONFLICTED INDIVIDUALS WHEN WARRANTED. SPECIFICALLY, ON AN ANNUAL BASIS, THE MUSEUM SEEKS TO ENSURE COMPLIANCE WITH ITS CONFLICT OF INTEREST POLICY BY SENDING RELEVANT WRITTEN POLICIES TO SENIOR STAFF, TRUSTEES AND ADVISORY MEMBERS OF COMMITTEES OF THE BOARD OF TRUSTEES. EACH POLICY IS SENT WITH A STATEMENT, WHICH MUST BE COMPLETED, SIGNED AND RETURNED TO THE MUSEUM'S GENERAL COUNSEL. THE STATEMENT REQUIRES EACH INDIVIDUAL TO CONFIRM THAT HE OR SHE HAS (I) RECEIVED A COPY OF THE POLICY, (II) READ AND UNDERSTOOD THE POLICY AND (III) AGREES TO COMPLY WITH THE POLICY. THE INDIVIDUAL IS ALSO ASKED TO DISCLOSE ANY POTENTIAL CONFLICT OF INTEREST THAT HE OR SHE OR A MEMBER OF HIS OR HER FAMILY, OR AN ENTITY IN WHICH ANY OF THEM HAVE A MATERIAL OWNERSHIP INTEREST, MAY HAVE. THE STATEMENTS ARE COMPLETED AND RETURNED TO THE GENERAL COUNSEL'S OFFICE. WHEN POTENTIAL CONFLICTS ARISE, THEY ARE INITIALLY EVALUATED BY THE GENERAL COUNSEL WITH THE ASSISTANCE OF OUTSIDE LEGAL COUNSEL IF NECESSARY. ACTUAL CONFLICTS OF INTEREST ARE RESOLVED IN CONSULTATION WITH THE MUSEUM'S PRESIDENT AND DIRECTOR (FOR STAFF) AND THE CHAIRMAN OF THE BOARD OF TRUSTEES AND THE LEGAL COMMITTEE OF THE MUSEUM'S BOARD (FOR TRUSTEES, INCLUDING THE DIRECTOR AND THE PRESIDENT). IF AN ACTUAL CONFLICT OF INTEREST IS DETERMINED TO EXIST, THE INDIVIDUAL IS PROHIBITED FROM PARTICIPATING IN THE BOARD'S DELIBERATIONS AND DECISIONS REGARDING THE TRANSACTION. A SUMMARY OF THE POTENTIAL CONFLICTS OF INTEREST DISCLOSED BY THE TRUSTEES IS PRESENTED TO THE AUDIT COMMITTEE EACH YEAR. A SUMMARY OF THE POTENTIAL CONFLICTS OF INTEREST DISCLOSED BY SENIOR STAFF IS PRESENTED TO THE PRESIDENT AND THE DIRECTOR EACH YEAR. |
| FORM 990, PART VI, LINES 15A AND 15B - COMPENSATION REVIEW PROCESS | THE COMPENSATION COMMITTEE ("THE COMMITTEE") OF THE BOARD OF TRUSTEES IS RESPONSIBLE FOR OVERSIGHT OF COMPENSATION AND BENEFITS PROGRAMS FOR THE MUSEUM'S OFFICERS, AND FOR ENSURING THAT THE COMPENSATION POLICIES OF THE MUSEUM ARE CONSISTENT WITH AND IN SUPPORT OF THE MUSEUM'S MISSION, VALUES AND LONG-TERM GOALS. THE INTENT OF THE COMMITTEE IS TO PROVIDE A TOTAL COMPENSATION PROGRAM FOR THE OFFICERS THAT PROMOTES THE MUSEUM'S LONG-TERM OBJECTIVES, AND IS REASONABLE, APPROPRIATE, AND FAIR. ANNUALLY, AN INDEPENDENT COMPENSATION CONSULTANT AND THE COMMITTEE REVIEW THE TOTAL COMPENSATION OF EACH OFFICER OF THE MUSEUM. COMPENSATION DECISIONS ARE MADE WITH REFERENCE TO COMPARABILITY DATA FOR SIMILARLY QUALIFIED PERSONS IN FUNCTIONALLY COMPARABLE ROLES AT SIMILARLY SITUATED ORGANIZATIONS PRESENTED BY THE INDEPENDENT COMPENSATION CONSULTANT. THE COMMITTEE ALSO CONSIDERS OTHER RELEVANT FACTORS IN DETERMINING COMPENSATION, INCLUDING THE MUSEUM'S MISSION AND GOALS, THE PERFORMANCE OF EACH OFFICER, AND THE MARKET FOR EXECUTIVE TALENT. THE COMMITTEE COMPLIES WITH THE "REBUTTABLE PRESUMPTION" PROCEDURES FOR DETERMINING THAT COMPENSATION IS REASONABLE UNDER INTERNAL REVENUE CODE SECTION 4958. DELIBERATIONS AND DECISIONS REGARDING COMPENSATION ARRANGEMENTS ARE CONTEMPORANEOUSLY DOCUMENTED IN THE MEETING MINUTES. |
| FORM 990, PART VI, SECTION C, LINE 19 - GOVERNING DOCUMENTS | PUBLIC AVAILABILITY OF OTHER DOCUMENTS THE MUSEUM'S AUDITED FINANCIAL STATEMENTS ARE INCLUDED IN THE MUSEUM'S ANNUAL REPORT, WHICH IS MADE AVAILABLE TO THE PUBLIC ON THE MUSEUM'S WEBSITE. THE MUSEUM MAKES ITS GOVERNING DOCUMENTS AND CONFLICT OF INTEREST POLICY AVAILABLE TO THE PUBLIC UPON REQUEST. |
| PART XI, LINE 9, OTHER CHANGES IN NET ASSETS | CHANGE IN VALUE OF SPLIT-INTEREST AGREEMENTS (2,614,831) UNREALIZED GAINS AND LOSSES ON 2015 BOND PROCEEDS 12,723,987 NET RECLASSIFICATIONS, FEES, AND OTHER (149,951) PENSION - RELATED CHANGES OTHER THAN NPPC 67,851,659 CHANGE IN FAIR VALUE OF INTEREST RATE EXCHANGE AGREEMENTS 18,011,955 PARTNERSHIP UBIT (21,196,731) ------------ TOTAL 74,626,088 |
| FORM 990, PART VII | DANIEL WEISS WAS AN EX-OFFICIO TRUSTEE DURING CALENDAR YEAR 2021. MAX HOLLEIN WAS AN EX-OFFICIO TRUSTEE DURING CALENDAR YEAR 2021. |
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