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)
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(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 245,041,493 | 194,219,691 | 307,540,922 | 383,849,407 | 381,145,505 | 1,511,797,018 |
| 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.. | 14,685,720 | 12,711,126 | 12,725,626 | 14,729,420 | 15,752,808 | 70,604,700 |
| 4 | Total. Add lines 1 through 3 | 259,727,213 | 206,930,817 | 320,266,548 | 398,578,827 | 396,898,313 | 1,582,401,718 |
| 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) .. | 0 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 1,582,401,718 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 259,727,213 | 206,930,817 | 320,266,548 | 398,578,827 | 396,898,313 | 1,582,401,718 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 50,863,902 | 36,502,901 | 33,295,493 | 63,998,311 | 80,219,232 | 264,879,839 |
| 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 | 1,847,281,557 | |||||
Calendar year (or fiscal
year beginning in) ![]() |
(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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)
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(a) 2019 | (b) 2020 | (c) 2021 | (d) 2022 | (e) 2023 | (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 2023 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-2023 |
(iii) Distributable Amount for 2023 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2023 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2023 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2023: | ||||
| a From 2018....... | ||||
| b From 2019....... | ||||
| c From 2020....... | ||||
| d From 2021....... | ||||
| e From 2022....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2023 distributable amount | ||||
|
i
Carryover from 2018 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2023 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2023 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2023, 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 2023. 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 2024. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2019..... | ||||
| b Excess from 2020..... | ||||
| c Excess from 2021..... | ||||
| d Excess from 2022..... | ||||
| e Excess from 2023..... | ||||
| Facts And Circumstances Test |
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| Return Reference | Explanation |
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| Software Version: |
| Return Reference | Explanation |
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| FORM 990, PART III - PROGRAM SERVICES | 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 this context, we recognize that our position as one of just a few universal art museums brings both renown and great responsibilities, especially in a period when the public looks to us for meaning and inspiration. Our achievements in fiscal year 2024 underscored not only our commitment to fulfilling these responsibilities but to doing so in an exemplary and visionary way, as a leading global arts institution like The Met must. In fiscal year 2024, attendance continued to rebound following the pandemic, reaching 5.5 million visitors during a year in which our groundbreaking programming resonated with increasingly diverse audiences. We also affirmed our commitment to the collection and to unparalleled scholarship across all our fields; reopened our suite of galleries dedicated to European paintings from 1300 to 1800 as well as debuted the 81st Street Studio, our discovery and place space for kids ages 3 to 11; made progress on a range of other major transformative capital projects; and invested even more in the visitor experience, with an eye toward creating additional new ways and spaces in which to present our world-class collection to the enrichment and enjoyment of our millions of visitors, all while maintaining a sound, sustainable approach to our finances, operations, and facilities. ON-SITE ATTENDANCE In fiscal year 2024, the Museum's attendance continues to rebound following the pandemic, and in fiscal year 2024 we welcomed more than 5.5 million visitors to our two locations - The Met Fifth Avenue and The Met Cloisters. The number of domestic out-of-state visitors reached pre-pandemic levels this year and the number of local New York City visitors exceeded pre-pandemic figures, a 102 percent recovery compared to 2019. BIPOC visitors accounted for a record-high 56 percent of The Met's visitors from the United States, a figure bolstered by a diverse and robust suite of programs and exhibitions. The Thomas J. Watson Library saw 13,615 visits by outside researchers in fiscal year 2024 and registered 2,614 new outside researchers. The Museum libraries circulated 64,590 items to readers and continued to digitize rare collection materials, both printed and manuscript, and to make them available online, averaging 179,148 hits per month. Community outreach is an important part of the Museum's engagement with its audience, and one of the goals of the Government Affairs department is to welcome individuals who may not have traditionally seen themselves reflected at The Met, offering them unique opportunities to explore the galleries, engage with art, and connect with our collection on Wednesdays, when the Museum is closed to the public. The Museum also serves as a polling site for the local community. In fiscal year 2024, through the Community Wednesday initiative, we welcomed over 3,400 individuals from diverse New York City communities. Groups welcomed this year included students, veterans, older adults, families from Harlem and the Bronx, migrant families, and individuals from all five boroughs. COLLECTION AND ACQUISITIONS The Met collection is the heart of the Museum, informing all of our programming. Its depth and diversity make it possible to tell the widest range of stories and engage ever more meaningfully with our audience. In fiscal year 2024, we made several notable additions to the collection, including: For the Department of Asian Art, a rare wooden sculpture from medieval Japan that is an image of the compassionate Buddhist deity Jizo; also for Asian Art, a Japanese robe (kosode) with flower roundels from round the 1660s; one of the finest surviving examples of Italian Renaissance leatherworking - a large, bowl-shaped, lidded box from Northern Italy from about 1490 - for the Department of European Sculpture and Decorative Arts; for the Department of European Paintings, an 1841 oil painting by Johann Friedrich Overbeck (1789-1869), a leader of the Nazarenes, of a biblical scene, The Banishment of Hagar; for the American Wing, dazzling, monumental silver candelabra created at Tiffany & Co. in 1884 under the direction of Edward C. Moore (1827-1891); for the Department of Drawings and Paintings, one of the most important works created by the French-American artist Louise Bourgeois (1911-2010) consisting of nine prints and parables made at a key moment in her career; and for the Department of Modern and Contemporary Art, an ambitious, immersive multimedia work by the Swiss-born artist Pipilotti Rist comprised of video artworks and objects, Neighbors Without Fences, from 2023. THE MET COLLECTION AND CULTURAL PROPERTY The Met has a vast and ever-evolving collection of more than 1.5 million objects that have been acquired throughout our 153-year history. The collection spans more than 5,000 years of art history from around the globe - from ancient to contemporary times-making The Met a truly universal museum. As a preeminent voice in the global art community at a time when collecting practices and policies are evolving and require continual responsiveness, it is incumbent upon The Met to engage intensively and proactively in examining certain areas of our collection and to increase the resources we dedicate to this ongoing crucial work. Last year, in May 2023, we announced a suite of initiatives related to cultural property and collecting practices, including: broaden, expedite, and intensify our research into all works that came to the Museum from art collectors and dealers who have been under investigation; hire a head of provenance research, reporting to the Director's Office, who will coordinate ongoing provenance research activities in all curatorial areas, along with three additional provenance researchers; and make an expanded contribution to the public discourse on cultural property, including convening thought leaders, advocates, and opinion makers in the area of cultural property both within the Museum and outside. In fiscal year 2024, we made significant progress in a number of these areas. We appointed a Head of Provenance; the establishment of this role and additional research positions build on our many decades of extensive provenance research and information sharing across numerous areas, and we now have the largest provenance research team of any museum in the world. Following the launch of our cultural property initiatives, this year, in April 2024, the Museum initiated the transfer of ownership of a third-millennium BCE Sumerian sculpture to the Republic of Iraq, after provenance research by Met scholars established that the work rightfully belongs to Iraq. In February 2024, with the Ministry of Culture of the Government of India, we signed a Memorandum of Understanding outlining future cooperation on educational initiatives, exhibitions, and exchanges of scholarship and expertise, building on a decades-long partnership that has yielded many important collaborations, most recently this year's Tree and Serpent: Early Buddhist Art in India, 200 BCE-400 CE. Other agreements during fiscal year 2024 included the transfer of ownership of two stone sculptures to the Republic of Yemen following provenance research conducted by Met scholars; Yemen asked for the works to remain in our custody for safe keeping and are now on view. An ongoing engagement with the Nepalese government led to a decision to return a 13th-century wooden temple strut and stone stele of a Vishnu triad, and in December 2023, The Met initiated the repatriation of 14 sculptures to the Kingdom of Cambodia and two to the Kingdom of Thailand. The return of the sculptures to Thailand was followed in April 2024 with a signed Memorandum of Understanding between the Kingdom of Thailand and The Met for-malizing a shared commitment to collaborate on exchanges of art, expertise, and the display and study of Thai art. |
| FORM 990, PART III - PROGRAM SERVICES | As part of a commitment to transparency, we also launched object webpages for all restituted works of art, specifying that the object has been returned and to what country. The Museum has also embraced a New York State law passed in August 2022 that requires museums to publicly identify any artworks in their collection that changed hands in Europe during the Nazi era (1933-1945) due to involuntary means, with more than 50 updated object labels now installed. Additionally, The Met continued its "Cultural Heritage Now" convening series that began in spring 2023 with two programs. EXHIBITIONS AND PUBLICATIONS In fiscal year 2024, the Museum's exhibitions team mounted 36 exhibitions and installations. Groundbreaking major commissions and fresh explorations of historically important artists shared the lineup with innovative and thematic presentations to make new connections in art across time periods, from ancient to modern. The following exhibitions were among the highlights in fiscal year 2024: Grounded in Clay: The Spirit of Pueblo Pottery; Tree and Serpent: Early Buddhist Art in India, 200 BCE-400 CE; Art for the Millions: American Culture and Politics in the 1930s; The Facade Commission: Nairy Baghramian, Scratching the Back; New Acquisitions in Context: Selections from the Department of Drawings and Prints; Picasso: A Cubist Commission in Brooklyn; Manet/Degas; The Great Hall Commission: Jacolby Satterwhite, A Metta Prayer; Vertigo of Color: Matisse, Derain, and the Origins of Fauvism; Proof: Maxime Du Camp's Photographs of the Eastern Mediterranean and North Africa; Lineages: Korean Art at The Met; Africa & Byzantium; British Vision, 1700-1900: Selections from the Department of Drawings and Prints; Women Dressing Women; Don't Forget to Call Your Mother. Cycladic Art: The Leonard N. Stern Collection on Loan from the Hellenic Republic; Afterlives: Contemporary Art in the Byzantine Crypt; Vision and Verse: The Poetry of Chinese Painting; Celebrating the Year of the Dragon; Indian Skies: The Howard Hodgkin Collection of Indian Court Painting; The Harlem Renaissance and Transatlantic Modernism; Weaving Abstraction in Ancient and Modern Art; The Art of the Literary Poster: Works from the Leonard A. Lauder Collection; The Real Thing: Unpackaging Product Photography; The Roof Garden Commission: Petrit Halilaj, Abetare; Sleeping Beauties: Reawakening Fashion; Collecting Inspiration: Edward C. Moore at Tiffany & Co.; Human/Nature: Selections from the Department of Drawings and Prints; Layered Narratives: The Northern Renaissance Gallery; Look Again: European Paintings 1300-1800; and The Calculated Curve: Eighteenth-Century American Furniture. The Shape of Time: Art and Ancestors of Oceania from The Metropolitan Museum of Art traveled to the National Museum of Qatar (October 16, 2023-January 15, 2024), and Irving Penn to the Fine Arts Museums of San Francisco, de Young (March 16, 2024-July 21, 2024). The Publications and Editorial Department produced 20 new titles and 9 reprints, displaying a remarkable breadth of topics and formats. Among these were the highly acclaimed exhibition catalogues Manet/Degas and The Harlem Renaissance and Transatlantic Modernism, both of which went into second printings; two publications for the Costume Institute, including Sleeping Beauties: Reawakening Fashion; along with the exhibition catalogues Tree and Serpent: Early Buddhist Art in India; Africa and Byzantium; and Art for the Millions: American Culture and Politics in the 1930s. Other notable publications include How to Read Portraits and The Art of the Literary Poster, as well as the annual Metropolitan Museum Journal and four issues of the Bulletin. The catalogue Lives of the Gods: Divinity in Maya Art won the prestigious Alfred H. Barr Jr. Award, while two others, Cubism and the Trompe l'Oeil Tradition and Juan de Pareja, were shortlisted, meaning that The Met accounted for three of the five finalists this year. Eleven titles were licensed for publication in other languages, including Chinese, French, German, Kazakh, Korean, and Spanish, further expanding the global reach of Met scholarship. In addition, the department managed more than 100 editorial interpretation projects for the galleries - including exhibitions, reinstallations, and capital projects - editing over 5,000 object labels and nearly 300 wall texts; gallery texts in major exhibitions earned high visitor satisfaction scores, and their quality was specifically highlighted in many reviews. The online platform MetPublications, which continues to be an essential resource for students and scholars with 700,000 global visitors annually, was significantly redesigned and upgraded in collaboration with Digital. EDUCATION In fiscal year 2024, the Museum's Education Department reaffirmed its commitment to engaging with communities and audiences of all ages and abilities through a broad range of diverse and innovative programming, presenting 29 percent more events than last year. A total of 460,487 visitors - a 16 percent increase over fiscal year 2023 - attended 22,656 on-site events at both The Met Fifth Avenue and The Met Cloisters, while 50,548 worldwide engaged virtually in hybrid events, including 90 that were exclusively online. Engaging with and developing and deepening authentic, sustainable relationships with a broad range of communities and organizations has long been a priority for The Met. This year, Education collaborated with over 170 organizations through a longstanding, multipronged approach that includes site visits, programs at community organizations, tabling at community events, hosting visits to The Met, and collaborating on program creation, followed by further engagement in the community. As part of a partnership with the Greater Harlem Chamber of Commerce, we hosted a community preview of The Harlem Renaissance and Transatlantic Modernism exhibition for more than 50 Harlem-based arts organizations and continued our engagement beyond the show's closing by participating in their Harlem Week activities. Community-focused initiatives included bilingual and Spanish-language talks and tours both at The Met and in Harlem; Spanish-language tours of the exhibition Weaving Abstraction in Ancient and Modern Art for organizations serving indigenous and immigrant audiences; and off-site community activations through the Civic Practice Partnership Artist Residency, which supports artists to connect collaborative social justice-oriented art projects with New York City communities. This year, our 2020-23 artist in residence Toshi Reagon returned to The Met to conclude her residency with Meaning and Memory - A Sonic Song Cycle through the Rooms, a sound and movement procession exploring the aural properties of several Museum spaces. Artists in residence for 2023-25-Brooklyn Hi-Art! Machine, Alethea Pace, and OlaRonke Akinmowo - participated in the fall MetFest celebration, among other audience engagements at The Met and in their respective communities. We also presented opportunities for connection through large-scale events such as the biannual MetFest block party, annual Lunar New Year Festival, free Museum Mile Festival, and Garden Festival at The Met Cloisters that drew than 57,000 people of all ages and abilities. Our efforts to foster wellness and reduce isolation among New York City's older adults continued through the monthly distribution of new thematic Your Met Art Box packages to over 700 senior recipients across all five boroughs in partnership with NYC Department for the Aging and 47 Older Adult Centers citywide. Our long-standing collaboration with the Filomen M. D'Agostino Greenberg Music School for people of all ages with vision loss included holiday caroling and art discussions and culminated with the 23rd Fil at The Met Concert: Making Waves in Grace Rainey Rogers Auditorium, where an audience of almost 400 enjoyed music and soundscapes inspired by The Met collection. At The Met Cloisters, programming initiatives focused on deepening engagement in the local community, engaging families and NYC K-12 students and teachers, among others, by delivering more than 400 public programs and tours (a 30 percent increase over fiscal year 2023) and a wider range of offerings, including the first annual Cloisters Student Art Show, sold-out monthly studio workshops, weekly Met Expert Talks and Storytime, and daily gallery and garden tours to connect visitors to medieval art and architecture. |
| FORM 990, PART III - PROGRAM SERVICES | This year's interdisciplinary programs included talks, panels, and symposia that combined outside points of view with The Met's internal expertise to activate and elucidate exhibitions, The Met collection, and capital projects. These included a series of conversations on cultural landmarks in Africa, the Americas, and Oceania presented in partnership with the World Monuments Fund; a dialogue between the architect of The Met's new Oscar L. and H. M. Agnes Hsu-Tang Wing, Frida Escobedo, and artist Sheila Hicks; a daylong creative convening centering on the Harlem Renaissance, which engaged around 20 thought leaders and drew 600 people in person and more than 2,000 online; and an ongoing series of Met Expert Talks, including one celebrating Juneteenth with Nnenna Ogwo, pianist, educator, artist, and founder of the Juneteenth Legacy Project, among others. Besides the popular Studio Workshops, Drop-in Drawing activities, and Copyist Program, this year's art-making programs included a new monthly program, Open Studio, that drew more than 3,600 visitors of all ages for artist-led demonstrations, hands-on making, and conversations with Met experts. Through our #MetAccess series, we continued to promote different perspectives and inclusive storytelling both on-site and online, inviting eight disabled artists, designers, and scholars to contribute social media posts inspired by works of art in The Met collection. In celebration of the exhibition Women Dressing Women, we commissioned designer Sky Cubacub to curate a series of three posts inviting queercrip artists (belonging to both the disabled and LGBTQIA communities) who embody Radical Visibility in their art, life, activism, and what they wear, to respond to the exhibition. Highlights in our multidisciplinary programming for younger audiences included the opening in September 2023 of the much-anticipated 81st Street Studio, a new drop-in discovery and play space for kids ages 3-11 and their families. Years in the making, the project was a close collaboration with the Department of Scientific Research, conservation and curatorial departments, and external partners, and in its first 10 months saw 159,258 visitors, including groups from over 40 New York City schools. The space encourages young visitors to explore materiality at the intersection of art and science and apply their findings in the galleries. In other younger-audience highlights, free multigenerational programs for families with younger children drew more than 10,000 throughout the year. A STEAM-focused partnership with The Museum School engaged 105 students in learning about paint and pigment as well as a career panel with Met conservation and Scientific Research staff. We also incorporated music education in over 80 well-received programs. Our commitment to serving as a cultural, social, and community hub for young people gained traction this year when we marked the 10th anniversary of Teens Take The Met! with over 3,700 teens in an evening of performances, art-making activities, and more. (Over the last decade, the event has drawn more than 36,000 teens in person and involved over 170 unique partner organizations.) Teen Fridays, a twice-monthly, drop-in program, saw a steady increase in attendance this year, drawing more than 700 youth to engage in creative activities and exhibitions with other teens. In the area of professional development and contributing to the advancement of a diverse museum field, a newly launched initiative in collaboration with the New York City Housing Authority brought 25 young NYCHA scholars to The Met for a leadership development program to explore career pathways in art, culture, and museums. We hosted 121 high school interns and 112 undergraduate and graduate interns for museum training, networking, and community building, and we continued to strengthen our commitment to research in support of our fellowship program, hosting 49 international fellows from 14 different countries for research and projects in 23 departments across the Museum. As always, The Met remained an essential resource for teaching, training, and learning at all levels this year, with more than 187,135 K-12 teachers and students participating in 757 virtual and 39,582 in-person guided tours of The Met collection, and 144,628 in self-guided tours. In addition, more than 2,168 teachers and school leaders participated in programs focused on integrating art into the classroom, further strengthening multidisciplinary art learning and attracting educators from a wider variety of disciplines. LIVE ARTS The MetLiveArts season included several impactful premieres in a total of more than 55 public events, 60 percent of which were free with Museum admission. Jacolby Satterwhite's immersive, site-specific Great Hall Commission, A Metta Prayer, opened the Live Arts season. Curated in partnership with the Department of Modern and Contemporary Art, the work was one of the largest efforts in the Department of Live Arts' history. Not only did it combine a visual installation with weekly live performances by Satterwhite's collaborators, including Hairbone (Raul de Nieves with Jessie Stead), Ioanna Gika, KelseyLu, Kindness, Lafawndah with Nightfeelings, Patrick Belaga, serpentwithfeet, and Ahya Simone, it transformed The Met's iconic Great Hall with projections and lighting effects, fusing choreography, video, animation, lighting, and music, to imagine a kaleidoscopic, computer-generated world of hope and love. In winter, Live Arts premiered two major commissions: Hamed Sino's Westerly Breath, staged uniquely in the Temple of Dendur; and Handel: Made in America, written and performed by WQXR host Terrance McKnight in collaboration with director Pat Eakin Young and dramaturg Ellen Harris. Accompanied by stirring musical performances from a quartet of world-class opera singers and an all-Black choir and orchestra, McKnight wrestles with the realization that the works of Handel-and many great works of 17th century British art, including those in The Met's collection-were funded by the trans-Atlantic slave trade that brought his ancestors to the United States. Each of the three commissions furthered the department's vision to create "only at The Met" performance experiences for visitors and artists alike. Significantly, many of these works were presented at low or no cost to visitors (included with Museum admission), furthering the Museum's mission to provide great artistic experiences to the widest possible audiences. In addition to these flagship projects, MetLiveArts continued to present weekly performances in The Great Hall Balcony Cafe and gallery spaces throughout the Museum. Several performances from recent seasons were also released on digital platforms, significantly expanding the reach of the department's projects to a global audience. DIGITAL The Museum's website ended the fiscal year with 34 million users, of which 37 percent were international. Users most frequently visited the website to access exhibitions, search The Met collection online, and buy tickets, with nearly a third of all online visitors (29 percent) purchasing an admission ticket. The Digital Department strengthened the Museum's online experience for international users by offering nine foreign language options on the Plan Your Visit pages for both The Met Fifth Avenue and The Met Cloisters, the audio guide page, and the visitor guidelines page, with more pages to be internationalized in fiscal year 2025. Behind the scenes, the department made further strides in a major initiative it began last year that includes modernizing technology infrastructure and improving the user experience. As part of that initiative, this year we enhanced several popular areas of the website, including MetPublications, Plan Your Visit, and Events, leading to improved accessibility and a more satisfying experience for users. Additionally, for our local audience, we introduced an online ticketing option for New York State residents that allows them to forego in-person lines and reserve pay-what-you-wish tickets on the Museum's website. In June 2024, we launched the second season of The Met's nonfiction podcast, Immaterial, in which listeners hear about the emotional origins and transformative power of art through the lens of materials. The eight new episodes again feature important works from The Met collection and experts from diverse backgrounds. Since the podcast's launch in 2022, it has accumulated more than 1.5 million minutes of total listening time by 48,000 unique listeners, and since the launch of season two, it has garnered 3,700 new followers. |
| FORM 990, PART III - PROGRAM SERVICES | The department's video production teams have continued to produce engaging stories in popular formats, such as artist interviews, exhibition tours, and stories about conservation. We also launched new video initiatives this year - YouTube Shorts and YouTube Podcasts - that contributed to an overall gain of 52,300 subscribers. For families and children, the department partnered with YouTube Kids to launch season two of MetKids Microscope, bringing the series more than 775,000 views. This year, the Digital Department also commissioned prominent authors to write personal essays reflecting on The Met collection and published pieces from Safia Elhillo, Maggie Millner, David Levi Strauss, Major Jackson, Georgina Kleege, Francesca Wade, and Rick Riordan. Additionally, in collaboration with writer Katy Hessel, we produced an audio tour that highlights remarkable achievements by women artists. The Digital Department supports special exhibitions with a wide range of content. In fiscal year 2024, the team produced audio guides for Tree and Serpent: Early Buddhist Art in India, 200 BCE-400 CE; Manet/Degas; and Africa & Byzantium. The audio guides were made available for free on the website's exhibition and audio guide pages, contributing to over 125,000 total listeners on the website. The team also worked with writer Jessica Lynne to produce a companion podcast for The Harlem Renaissance and Transatlantic Modernism. To date, the podcast has garnered 32,000 plays equaling over 3,000 hours of listening time. The Museum's social media reach is broad: its Instagram has 4.4 million followers, its X (formerly Twitter) has more than 4.2 million followers, its Facebook has more than 2.2 million followers, and its TikTok reached more than 1.3 million followers. The Museum's email marketing program now reaches 3.6 million subscribers, up from 2.9 million the previous year. In fiscal year 2024, the team sent 88 million emails across 978 unique campaigns. CAPITAL PROJECTS The fiscal year was an extremely productive one for the Museum's Capital Projects Department, which is in the midst of leading a series of transformative projects. Nearly a quarter of the Museum's spaces is in the process of being transformed. The Oscar L. Tang and H.M. Agnes Hsu-Tang Wing continued to progress through the design phase, with architect Frida Escobedo working closely with the curatorial teams and other staff to further develop a cohesive concept design proposal for the new wing, which will prioritize the presentation of 20th- and 21st-century art in 75,000 square feet of gallery space and 7,500 square feet of exterior terrace space. Construction of the Michael C. Rockefeller Wing was completed this fiscal year and art installation began in early 2024. The project transforms how the Museum presents its collections of the art of sub-Saharan Africa, Oceania, and the ancient Americas, and also consists of major upgrades to the building's infrastructure, including the construction of a new sloped glass wall on the south side of the Museum. The project is being overseen by the architect Kulapat Yantrasast of the firm wHY and Beyer, Blinder, Belle Architects LLP, and the new galleries are on track to open in May 2025. Design is complete and construction is slated to begin in fall 2024 on the reimagined Ancient Near Eastern and Cypriot Art galleries, a project that 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. Boston-based architectural firm NADAAA, led by principal designer Nader Tehrani, is overseeing the project, which includes significant modifications to the skylights and attics above. The galleries have been closed for art deinstallation and are scheduled to reopen in 2026. Currently in its planning phases, the Great Hall Project is a major institutional initiative that will comprise several components, including the conversion of the current Met Store into a new 11,500-square-foot gallery that will display the Costume Institute's annual spring show and, at times, other shows from other curatorial departments. The project will also encompass the activation of the Museum's entrance at 83rd Street and Fifth Avenue to allow for easier public access into the Museum, and the reconfiguration of the spaces within The Met for dining, retail, and The Met Store. The project is being overseen by the firm Peterson Rich Office and Beyer, Blinder, Belle Architects LLP, with Rockwell Group serving as the restaurant interior architect. The new gallery is scheduled to be completed by 2026, with the remaining components to follow. As mentioned above, the project to renovate the galleries dedicated to European Paintings from 1300 to 1800, part of the ambitious Skylights Project initiated in 2018, was completed in November 2023, and in September 2023, the 81st Street Studio, the Museum's discovery and play space for kids ages 3 to 11, was completed. At a time when the world increasingly looks to us for meaning and inspiration, our Trustees and staff - their dedication, deep knowledge, and quest for excellence - are the reason we are able to fulfill our mission and provide our global audience with truly impactful opportunities for experiencing the art, cultures, and narratives that shape our times. |
| 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 A BUSINESS RELATIONSHIP WITH EACH OTHER: 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, GENERAL COUNSEL, AND EXTERNAL TAX ADVISORS 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 DIRECTOR AND CHIEF EXECUTIVE OFFICER, CHIEF OPERATING OFFICER, 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 | CONFLICT OF INTEREST POLICY 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 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). 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 ARE PRESENTED TO THE AUDIT COMMITTEE EACH YEAR. A SUMMARY OF THE POTENTIAL CONFLICTS OF INTEREST DISCLOSED BY SENIOR STAFF IS PRESENTED TO THE DIRECTOR EACH YEAR. |
| FORM 990, PART VI, LINES 15A AND 15B - COMPENSATION REVIEW PROCESS | COMPENSATION REVIEW 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. THE INDEPENDENT COMPENSATION CONSULTANT MAKES RECOMMENDATIONS WITH RESPECT TO THE TOTAL COMPENSATION OF EACH OFFICER, AND THE COMMITTEE APPROVES THE COMPENSATION. 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 INDEPENDENT COMPENSATION CONSULTANT AND THE COMMITTEE ALSO CONSIDER 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 AND ANNUAL REPORT ARE 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 2,072,092 UNREALIZED GAINS AND LOSSES ON 2015 BOND RETURNS 11,699,932 NET RECLASSIFICATIONS, FEES, AND OTHER (2,279,210) PENSION - RELATED CHANGES OTHER THAN NPPC (10,691,656) CHANGE IN FAIR VALUE OF INTEREST RATE EXCHANGE AGREEMENTS 3,690,335 PARTNERSHIP UBIT (27,831,508) ------------ TOTAL (23,340,015) |
| FORM 990, PART VII | MAX HOLLEIN WAS AN EX-OFFICIO TRUSTEE DURING CALENDAR YEAR 2023. |
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