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Deaccessioning

![Crosby Garrett Helmet at Christie's auction][float-right] Deaccessioning is the formal process by which museums and other collecting institutions permanently remove objects from their permanent collections, typically through sale or disposal, to improve the quality or relevance of holdings or to acquire new items.^[1]^[2] Professional ethical guidelines, such as those from the Association of Art Museum Directors (AAMD) and the American Alliance of Museums (AAM), mandate that proceeds from deaccessioning be used exclusively for purchasing additional collection items or, following policy updates, direct care of existing collections, rather than general operating expenses.^[3]^[4] The practice has historical roots in collection management but gained formalized ethical frameworks in the late 20th century to safeguard public trust, as many objects enter collections via donations with implied restrictions against commercialization.^[5] Controversies arise when institutions deaccession to fund operations amid financial pressures, as seen in cases like the Berkshire Museum's 2018 sales of artworks to address deficits, which prompted lawsuits and criticism for violating donor intent and ethical standards.^[6]^[7] In response to the COVID-19 pandemic, the AAMD temporarily relaxed restrictions from 2020 to 2022, permitting sales for staff costs tied to collections, though this extension fueled debates over long-term precedents for fiscal accountability.^[8]^[9] Recent policy shifts, including 2022 amendments allowing proceeds for "direct care," reflect evolving pressures on museums but underscore ongoing tensions between stewardship and sustainability.^[3]

Definition and Historical Context

Core Definition and Principles

Deaccessioning is the formal process by which a cultural institution, such as a museum, permanently removes an object from its permanent collection through mechanisms including sale, exchange, gift, or destruction. This action requires thorough documentation and legal transfer of ownership, with the institution retaining title until disposition is finalized.^[10]^[11] The counterpart to acquisition, deaccessioning enables institutions to refine holdings by eliminating redundancies, poorly preserved items, or objects misaligned with core missions, thereby enhancing overall collection stewardship.^[12]^[13] Core principles mandate adherence to institutional collections policies, which outline ethical, legal, and professional standards to ensure decisions withstand public and scholarly scrutiny. Justification typically hinges on criteria such as the object's failure to advance educational or research objectives, evidence of unethical provenance, or superior stewardship elsewhere, absent donor-imposed restrictions or legal barriers.^[1]^[14] Deaccessioning must prioritize long-term public benefit over short-term fiscal needs, prohibiting the use of proceeds for general operations like staff salaries or facility upkeep; funds are restricted exclusively to new acquisitions or direct conservation of remaining collections.^[1]^[15]^[16] Transparency forms a foundational principle, requiring governing body approval, detailed rationales, and records accessible for accountability, often involving external appraisals or consultations to mitigate bias or error.^[11]^[16] These guidelines, drawn from bodies like the American Alliance of Museums and International Council of Museums, underscore deaccessioning as a responsible tool for collection vitality rather than a routine divestment mechanism.^[1]^[17]

Historical Origins and Evolution

Deaccessioning practices trace their origins to the early 19th century in American institutions, where museums routinely sold or exchanged items to manage financial debts, alleviate space constraints, or eliminate duplicates. For instance, in 1825, the New-York Historical Society auctioned portions of its library collection to offset an $8,000 debt, reflecting a pragmatic approach to collection stewardship amid limited resources.^[18] Similarly, the Smithsonian Institution in the early 1900s distributed over 400,000 duplicate anthropological specimens through exchanges and gifts to other entities, prioritizing efficient use of holdings over permanent retention.^[18] By the early 20th century, deaccessioning evolved as museums expanded and professionalized, often involving sales to fund space management or acquisitions. The Metropolitan Museum of Art, for example, deaccessioned more than 600 objects in 1929 to address overcrowding, demonstrating how growing collections necessitated selective refinement.^[18] In smaller institutions like the Passaic County Historical Society, informal disposals occurred as early as the 1930s, driven by storage limitations, with curators occasionally discarding items without formal board approval until bylaws in 1926–1960s began codifying disposal authority.^[18] These practices underscored deaccessioning's role in maintaining viable collections, though documentation was often lax, leading to ad hoc decisions rather than standardized procedures. The mid-20th century marked a shift toward formalization amid rising ethical scrutiny, as museums grappled with donor expectations and public perceptions of permanence. A notable early controversy arose in 1967 when the Metropolitan Museum of Art sold works from the Adelaide Milton de Groot estate donation shortly after receipt, prompting debates over the fiduciary duties tied to gifts.^[19] Pre-1970s deaccessioning remained flexible, focused on curatorial needs like refinement and care, but accumulating scandals—such as unauthorized disposals in under-resourced venues—catalyzed policy evolution.^[18] Post-1970s, professional associations imposed stricter guidelines to curb misuse, emphasizing transparency and restricting proceeds to collection-related purposes. The American Alliance of Museums and Association of Art Museum Directors developed codes in the 1980s–1990s prohibiting sales for operational funding, a response to financial pressures that had previously justified broader deaccessions.^[19] This evolution reflected a tension between historical pragmatism and emerging norms of stewardship, with deaccessioning reframed as a deliberate, documented process integral to long-term institutional health rather than a reactive measure.^[18]

Institutional Policies and Guidelines

Deaccession Criteria

Deaccession criteria in museums and cultural institutions are established to ensure that removals from permanent collections align with ethical standards, legal requirements, and institutional missions, typically requiring documented justification within a formal collections management policy.^[1]^[20] These criteria emphasize retaining objects that retain scholarly, educational, or interpretive value while permitting disposal of those that no longer serve core purposes, provided no donor restrictions or legal impediments exist.^[10]^[5] Institutions such as the American Alliance of Museums (AAM) and the Association of Art Museum Directors (AAMD) advocate for rigorous evaluation processes, often involving curatorial committees, to prevent arbitrary decisions and maintain public trust.^[1]^[2] Common criteria for deaccession include objects that fall outside the institution's defined scope or mission, such as items acquired historically but now irrelevant to current collecting priorities.^[21]^[22] Duplicates or excess holdings that exceed research or display needs also qualify, allowing refinement of collections to prioritize unique or high-quality exemplars over redundant ones.^[5]^[23] Items in irreparable condition—deteriorated, damaged beyond conservation, or containing hazardous materials—may be deaccessioned to mitigate risks to staff, visitors, or other collections.^[5]^[13] Proven fakes, forgeries, or misattributed works are frequently targeted for removal to preserve collection integrity and avoid misleading scholarly or public interpretation.^[10] Objects lacking sufficient educational, research, or interpretive value, particularly inferior examples overshadowed by stronger holdings, further meet deaccession thresholds when they offer minimal contribution to the institution's goals.^[5]^[22] Ethical considerations, such as provenances linked to illicit trade or calls for repatriation under international agreements like the 1970 UNESCO Convention, can justify deaccession, though these require exhaustive provenance research and legal compliance.^[20]^[16] Approval processes for these criteria typically demand multi-step reviews, including expert appraisals and board oversight, to document rationale and ensure transparency, with records retained indefinitely for accountability.^[1]^[24] While criteria promote collection stewardship, critics note variability across institutions may lead to inconsistent application, underscoring the need for adherence to professional codes like those from ICOM, which stress that deaccessions should never substitute for adequate funding.^[14]^[20]

Policy Frameworks Across Institutions

Policy frameworks for deaccessioning in cultural institutions are primarily shaped by professional associations and national laws, with variations reflecting institutional missions, legal constraints, and evolving ethical standards. In the United States, the American Alliance of Museums (AAM) endorses deaccessioning as a responsible practice absent legal barriers, requiring institutions to maintain written policies that prioritize public trust and collection integrity.^[1] The AAM's Direct Care of Collections guidelines, updated to provide field-wide recommendations, permit proceeds from deaccessioned sales to fund conservation, storage, and other direct care activities rather than solely new acquisitions, a shift formalized post-2020 amid financial pressures from the COVID-19 pandemic.^[4] The Association of Art Museum Directors (AAMD), representing major U.S. art museums, mandates that deaccessions follow well-defined written principles aligned with collecting goals, emphasizing improvements to long-term collections over financial gain.^[2] In September 2022, AAMD revised its policy to align with AAM by allowing sale proceeds for direct care of collections during a specified period, though prohibiting use for operational expenses like salaries or capital projects.^[3] Internationally, the International Council of Museums (ICOM) outlines deaccessioning in its Code of Ethics and supplementary guidelines, requiring museums to define processes in collections policies, involve stakeholders, and ensure dispositions respect ethical responsibilities, such as avoiding sales that undermine public trust.^[11] ICOM stresses that deaccessioning should refine collections ethically, with proceeds typically restricted to acquiring comparable items unless justified otherwise.^[25] In contrast, frameworks in the United Kingdom, particularly for national institutions, impose stricter legal limits; the British Museum's 2024 deaccession policy, governed by the British Museum Act 1963, permits removal only for duplicates, damaged items, or those unfit for retention, explicitly barring sales for repatriation or general funding without parliamentary approval.^[26] This reflects broader variations where U.S. policies emphasize flexibility for sustainability, while European national laws prioritize permanence to safeguard heritage.^[27] Across these frameworks, common criteria include redundancy, deterioration, or misalignment with institutional scope, with decisions requiring governing body approval and documentation to maintain transparency.^[28]

Decision-Making and Implementation Process

Evaluation and Justification Steps

![A registrar examines artifacts at the US Capitol][float-right] The evaluation phase of deaccessioning begins with a systematic reappraisal of the collection to identify potential candidates for removal, focusing on items that no longer align with the institution's mission or meet established criteria such as poor physical condition, duplication within the collection, lack of scholarly or interpretive value, or confirmed forgeries.^[24] This process requires curatorial staff to conduct thorough assessments, often involving conservation experts to evaluate deterioration risks and historians or appraisers to verify authenticity and relevance.^[29] Institutions like the National Park Service mandate regional reviews alongside park-level recommendations to ensure consistency and objectivity in identifying items unsuitable for long-term retention.^[16] Justification for deaccessioning must be documented in a formal statement that articulates how the removal serves the collection's overall integrity, such as reallocating resources to acquire higher-priority objects or reducing maintenance burdens on deteriorating items.^[2] This documentation includes reviews of provenance records, donor intent, and any legal restrictions to confirm clear title and compliance with ethical standards, as emphasized by the Association of Art Museum Directors.^[2] The International Council of Museums requires that such justifications prioritize the museum's public trust obligations, ensuring decisions enhance rather than undermine the collection's educational and research value.^[20] Approval steps typically involve escalating review by a collections committee, museum director, and governing board, where the justification statement is scrutinized for alignment with institutional policies and potential impacts on donor relations or public perception.^[5] For instance, the Memorial Art Gallery justifies deaccessions based on factors like irrelevance to mission or inferiority, with committee approval ensuring transparency.^[30] All evaluations must maintain permanent records in the object's file, detailing the rationale, consultations, and approvals to facilitate accountability and future audits.^[10] This rigorous process mitigates risks of arbitrary decisions, though critics note that subjective elements in assessing "relevance" can introduce institutional biases despite formal guidelines.^[31]

Disposal Methods and Proceeds Usage

Museums employ several methods for disposing of deaccessioned objects, with public auction being a prevalent approach to maximize financial return and transparency. Auction houses such as Christie's and Sotheby's frequently handle these sales; for instance, the Museum of Fine Arts, Boston, deaccessioned 17 Old Master paintings by Dutch and Flemish artists from the 17th century, offered at Christie's New York in December 2024 with estimates totaling up to $3.8 million.^[32] Private sales provide an alternative for discreet transactions, often to collectors or dealers, while transfers to other nonprofit institutions preserve cultural access without monetization.^[10] In rare cases involving duplicates, fakes, or deteriorated items unsuitable for retention, physical destruction or repatriation may occur, though such methods prioritize ethical considerations over revenue.^[13] Proceeds from deaccessioned sales are governed by professional ethics codes emphasizing reinvestment in collections rather than operational expenses. The American Alliance of Museums (AAM) mandates that funds be used exclusively for acquiring new objects or covering direct collection costs like conservation, prohibiting allocation to staff salaries or general operations.^[1] Similarly, the Association of Art Museum Directors (AAMD) historically restricted proceeds to acquisitions but, in September 2022, amended guidelines to permit use for "direct care" activities, including preservation, storage, and installation, excluding operating budgets.^[3] ^[33] This shift followed temporary pandemic-era waivers, which lapsed in 2022, reflecting pressures from financial distress but maintaining boundaries against unrestricted spending.^[34] For academic museums, the College Art Association reinforces that proceeds cannot fund operations or investments, underscoring discipline-specific standards.^[5] Violations risk reputational damage and membership sanctions from bodies like AAM or AAMD.^[4]

Ethical and Philosophical Debates

Arguments Supporting Deaccessioning

Deaccessioning enables museums to refine their collections by removing duplicates, items in poor condition, or objects misaligned with the institution's mission, thereby concentrating resources on artifacts that enhance public access and scholarly value. For instance, the Art Institute of Chicago identifies deaccession criteria including redundancy, deterioration, or irrelevance to its permanent collection, arguing that such removals support responsible stewardship.^[10] Similarly, Museums Victoria maintains that selling surplus objects reallocates funds directly to collection maintenance and improvement, preventing storage of unused items that strain limited budgets.^[35] Proponents emphasize financial sustainability, particularly amid economic pressures like those following the COVID-19 pandemic, where deaccessioning proceeds have averted closures and supported operational continuity. The Association of Art Museum Directors (AAMD) amended its guidelines in September 2022 to permit sales funds for "direct care" of collections—encompassing conservation, storage, and staffing—recognizing that unrestricted acquisition-only rules hindered adaptability during crises.^[3] This shift addressed unsustainable perpetual growth, as noted in scholarly analyses, allowing institutions to prioritize high-impact holdings over indefinite expansion.^[36] From a stewardship perspective, deaccessioning redirects underutilized or deteriorating objects to better-suited collectors or institutions, maximizing cultural benefit; the American Alliance of Museums (AAM) describes it as a "logical and responsible" practice when legally permissible, improving overall collection quality without violating public trust.^[1] Empirical outcomes include enhanced focus on core missions, as museums report better preservation of displayed works post-deaccession, countering arguments of inherent loss by evidencing net gains in accessibility and relevance.^[37] The International Council of Museums (ICOM) further endorses it as a lawful tool for lawful removal, provided proceeds bolster the collection's public utility.^[20]

Arguments Opposing Deaccessioning

Opponents of deaccessioning maintain that museum collections are held in perpetual public trust, imposing a fiduciary duty on institutions to preserve items for future generations rather than liquidate them for short-term financial gain. The Association of Art Museum Directors' code of ethics stipulates that proceeds from deaccessioning must be used exclusively to acquire other works for the collection, prohibiting their application to operating costs or general expenses, as such use would betray the stewardship role central to museums' missions.^[38] This position stems from ethical commitments to donors, who contribute objects expecting indefinite public access and cultural utility, often incentivized by tax deductions predicated on non-commercial preservation rather than resale value. Arts journalist Lee Rosenbaum has argued that deaccessioning sales frequently signal institutional mismanagement, such as curatorial overreach or inadequate fundraising, while diverting resources from maintenance of existing holdings to new acquisitions.^[39] Practically, deaccessioning risks irreversible dispersal of cultural patrimony into private hands, curtailing opportunities for scholarship, education, and conservation that depend on institutional custody. Critics highlight a slippery slope wherein initial sales of duplicates or lesser works normalize commodification, potentially eroding collections' integrity over time and diminishing their role as irreplaceable public resources.^[40] In jurisdictions like the United Kingdom, where financial pressures from local authority insolvencies have prompted considerations of collections as balance-sheet assets, bodies such as the Museums Association and Arts Council England issued a joint statement in August 2024 asserting that such disposals undermine public confidence and contravene accreditation standards requiring collections to serve societal benefit, not revenue generation. Violations can trigger five-year accreditation suspensions, funding repayments, and severed partnerships, reinforcing the view that treating heritage as fungible capital jeopardizes institutional legitimacy.^[41]^[42]

Major Controversies and Legal Challenges

Notable Case Studies and Lawsuits

One prominent early controversy arose in 1972 at the Metropolitan Museum of Art, where the secretive deaccessioning of works from the Alice B. Toklas/de Groot collection drew widespread criticism from art historians and led to investigations by the New York Attorney General into potential violations of donor restrictions.^[43] This incident prompted the museum to adopt more transparent deaccessioning guidelines and highlighted risks of fiduciary breaches in handling bequeathed collections.^[44] In 2017, the Berkshire Museum in Pittsfield, Massachusetts, announced plans to deaccession approximately 40 works, including two Norman Rockwell paintings such as Shuffleton's Barbershop (estimated at $25 million), an Alexander Calder sculpture, and a Frederic Church landscape, to raise up to $60 million for operational sustainability amid a budget crisis.^[45] The decision triggered two lawsuits: one by Norman Rockwell's sons, glass artist Tom Patti, and museum members alleging breach of donor intent and fiduciary duty; another by local residents.^[45] Massachusetts Attorney General Maura Healey intervened, seeking an injunction, but Berkshire Superior Court dismissed non-governmental claims for lack of standing and denied the injunction, with the Appeals Court briefly delaying sales before a February 2018 settlement capped proceeds at $55 million and allowed auctions that ultimately fell short of goals.^[45] The Association of Art Museum Directors sanctioned the museum in May 2018 for using proceeds beyond acquisitions.^[45] The 2020 deaccessioning proposal by the Baltimore Museum of Art to sell up to 29 works valued at $65 million, including pieces by Constantin Brancusi, Brice Marden, and Andy Warhol, aimed to fund staff salaries, eliminate admission fees, and diversify the collection amid pandemic financial pressures, but faced intense backlash for deviating from traditional use restrictions on proceeds.^[46] Critics, including curators and donors, argued it undermined collection integrity, leading the museum to lose a $50 million planned gift and ultimately cancel sales of key pieces hours before a Sotheby's auction on October 28, 2020, after temporary AAMD rule relaxations were invoked.^[47]^[48] No formal lawsuit ensued, but the episode intensified national debates on ethical boundaries, contrasting with contemporaneous sales by institutions like the Brooklyn Museum that drew less scrutiny.^[49] At Valparaiso University's Brauer Museum of Art, a 2022 plan to deaccession three paintings—Georgia O'Keeffe's Rust Red Hills (1930), Frederic E. Church's Mountain Landscape (1865), and Childe Hassam's The Silver Veil and the Golden Gate (1914)—to finance $25 million in dormitory renovations sparked a lawsuit by founding director Richard Brauer and retired law professor Philipp Brockington, who claimed violations of donor agreements and institutional mission.^[50] Porter County Superior Court Judge Jeffery Thode dismissed the suit on October 26, 2023, ruling plaintiffs lacked standing, though they were granted time to amend, which they did not pursue; a separate challenge by the former director was dropped in August 2024.^[50]^[51] In a 2024 case, land artist Mary Miss sued the Des Moines Art Center over plans to deaccession her deteriorating installation Greenwood Pond: Double Site (1989–1996), commissioned for the site, alleging breach of contract and violations of the Visual Artists Rights Act (VARA) after failed $1.4 million repairs in 2015.^[52] Miss sought a restraining order in April 2024 to halt demolition, citing moral rights in her indivisible artwork; the parties settled in December 2024, with the museum paying her $900,000 within 14 days while retaining options for future handling.^[52] This settlement underscored VARA's application to site-specific works and the challenges of maintaining ephemeral installations.^[52]

Policy Shifts and Recent Developments

In April 2020, amid the financial pressures of the COVID-19 pandemic, the Association of Art Museum Directors (AAMD) approved a temporary two-year suspension of sanctions against member institutions that used proceeds from deaccessioned artworks to cover expenses directly related to the care of collections, such as conservation and staffing for curatorial functions, though general operating costs remained prohibited.^[53] This policy adjustment marked a pragmatic response to widespread museum closures and revenue losses, allowing flexibility without fully abandoning longstanding ethical restrictions on deaccessioning funds.^[54] Following the expiration of the temporary measures in 2022, AAMD membership voted to permanently revise its deaccessioning guidelines, expanding permissible uses of sale proceeds to include "direct care" of collections—a category encompassing maintenance, preservation, and related activities beyond solely acquiring new works.^[3] This shift, effective immediately, broadened the definition of direct care while maintaining prohibitions on funding salaries or operational overhead unrelated to objects, reflecting a consensus that rigid pre-pandemic rules had constrained museums' ability to sustain core functions amid ongoing economic challenges.^[34] The change was justified by AAMD as aligning with museums' fiduciary duties to preserve collections long-term, though critics argued it risked eroding donor intent tied to acquisition-only stipulations.^[55] The American Alliance of Museums (AAM) complemented these developments with updated guidance on direct care ethics, emphasizing transparency in deaccession decisions and proceeds allocation, but without altering its core stance against using funds for non-collection purposes.^[4] By 2025, these policy evolutions had normalized deaccessioning as a tool for financial resilience, with institutions like the Metropolitan Museum of Art reporting sustained use of such strategies, though debates persist over potential slippery slopes toward commodifying holdings.^[56] No further major guideline overhauls have occurred through October 2025, but the expansions have prompted calls for standardized reporting to mitigate transparency concerns.^[57]

Economic Realities and Broader Impacts

Financial Necessities Driving Deaccession

Museums frequently encounter financial strains where operational expenses, including the conservation, storage, and security of collections, surpass income from admissions, endowments, and donations, compelling some to deaccession assets to sustain core functions.^[1] Such pressures often stem from years of inadequate funding, rendering deaccessioning a pragmatic response to avert institutional collapse rather than mere opportunism.^[58] The COVID-19 pandemic intensified these challenges, as U.S. museums collectively lost at least $33 million daily in revenue from enforced closures and diminished attendance, with many experiencing up to 50% overall revenue declines.^[59] In this context, the Metropolitan Museum of Art deaccessioned 219 prints and photographs in September 2021, raising approximately $1 million to mitigate a $150 million budget shortfall directly attributable to pandemic disruptions.^[60] Other institutions, such as the Brooklyn Museum, which has contended with chronic financial instability due to its expansive holdings and location, pursued deaccessioning in 2020 to fund an endowment for long-term collection care amid revenue losses.^[61] By February 2025, the museum faced a $10 million deficit, prompting staff reductions, underscoring how deaccessioning serves as a bridge for ongoing viability when public and philanthropic support lags.^[62] Policy adaptations facilitated this shift; the Association of Art Museum Directors temporarily suspended sanctions in April 2020, permitting proceeds for "direct care" of collections beyond acquisitions, a measure extended through 2022 to address existential threats.^[54]^[3] For under-resourced regional museums, deaccessioning offsets debts from prior expansions or maintenance backlogs, as exemplified by the Delaware Art Museum's 2014 attempt to sell a Winslow Homer painting to retire $19.8 million in construction-related obligations.^[63] These cases illustrate deaccessioning as a causal mechanism for financial stabilization, prioritizing the preservation of primary holdings over retaining redundant or unaffordable items.

Long-Term Effects on Collections and Institutions

Deaccessioning enables museums to streamline collections by eliminating duplicates, deteriorated items, or objects misaligned with core missions, thereby allowing resources to concentrate on higher-priority acquisitions and improving long-term curatorial focus and public access to relevant holdings.^[1] However, liberal policies risk the irreversible dispersion of cultural heritage, as sold items often enter private hands or foreign markets, reducing their availability for research, education, and exhibition in public institutions.^[36] Institutions practicing deaccessioning for operational funding rather than collection care face heightened vulnerability to managerial moral hazard, where short-term revenue generation supplants efforts toward diversified income streams, exacerbating chronic underfunding without resolving underlying fiscal weaknesses.^[36]^[1] The American Alliance of Museums notes that such actions signal inadequate long-term support, potentially forfeiting financial accounting exceptions under FASB standards and inviting scrutiny of tax-exempt status.^[1] A primary long-term repercussion is the erosion of donor confidence, as deaccessions signal that gifted works may later be monetized, prompting potential philanthropists to withhold art and funds; this "chilling effect" extends sector-wide, as evidenced by the 2018 Berkshire Museum controversy, where auctioning 40 works—including two Norman Rockwell paintings originally donated—drew Association of Art Museum Directors sanctions and widespread warnings of diminished future giving.^[40]^[1] Public perception suffers similarly, with perceived misuse of collections as fiscal assets undermining institutional credibility and visitor trust, though transparent, mission-driven deaccessions may bolster relevance if paired with robust ethical guidelines to mitigate reputational harm.^[36]^[1] Empirical studies remain limited, but professional consensus emphasizes that while regulated deaccessioning supports sustainability, unchecked reliance fosters dependency cycles that compromise institutional autonomy and cultural stewardship over decades.^[36]

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Aug 28, 2024 · We are seriously concerned about the possibility of unethical sales from museum collections and the targeting of collections as a source of income.
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From Museum to the Auction Block: Regulating the Deaccessioning ...
Brodsky proposed legislation that would prohibit museums from using proceeds from the sale of artwork to pay for operating expenses.18 ...
[44]
Art Historians at CUNY Score Sale of Metropolitan Paintings
Oct 18, 1972 · ... museum; museum asst curator P Harper confirms existence of deaccessioning guidelines but refuses to say that they resulted from controversy.
[45]
Donor Intent Watch: A Dispute at the Berkshire Museum Offers ...
Oct 26, 2023 · They claimed the decision to sell works of art constituted a breach of contract between the museum's trustees and its members. A second lawsuit ...Missing: studies | Show results with:studies
[46]
What Are the Most Controversial Museum Deaccessioning Plans?
Oct 26, 2020 · The Baltimore Museum of Art, whose controversial plan to sell $65 million in art have become the subject of national news.
[47]
The BMA Deaccessioning Scandal, Explained - Baltimore Magazine
Oct 22, 2020 · The sale of three works by the Baltimore Museum of Art has caused outrage in the art world. Here's why. By Christine Jackson | October 22, 2020, ...
[48]
Baltimore Museum of Art cancels Warhol sale, two other works
Oct 29, 2020 · The Baltimore Museum of Art reversed its decision to sell artworks from the permanent collection hours before two were to be auctioned at ...<|control11|><|separator|>
[49]
Two Museums Tried to Sell Art. Only One Caught Grief About it.
Oct 30, 2020 · The Baltimore Museum of Art and the Brooklyn Museum both planned on selling works last Wednesday at auction, but Baltimore paused the sale after much criticism.
[50]
A Lawsuit Aimed at Halting the Brauer Museum's Controversial ...
Nov 27, 2023 · An Indiana judge has dismissed a lawsuit aimed at preventing the Brauer Museum from deaccessioning three paintings to fund a freshman dorm.Missing: studies | Show results with:studies
[51]
Former university museum director drops lawsuit seeking to block ...
Aug 30, 2024 · The deaccessioning dispute at Valparaiso University's Brauer Museum of Art centres on works by Georgia O'Keeffe, Frederic Church and Childe ...Missing: notable | Show results with:notable<|separator|>
[52]
Land Artist Awarded Nearly $1M in Iowa Museum Settlement
Jan 14, 2025 · Artist Mary Miss and the Des Moines Art Center (DMAC) in Iowa have reached a settlement on a lawsuit regarding the museum's move to deaccession ...Missing: famous | Show results with:famous
[53]
AAMD Board of Trustees Approves Resolution to Provide Additional ...
Apr 15, 2020 · The resolution also addresses how a museum might use the proceeds from deaccessioned art to pay for expenses associated with the direct care of ...
[54]
Time is up on relaxed rules for US museums wanting to sell their ...
May 11, 2022 · From this vantage, it appears that the debate over deaccessioning is all but settled. The AAMD has returned to its pre-pandemic regulations, and ...
[55]
Association of Art Museum Directors revises deaccessioning policy ...
Sep 30, 2022 · The new rule goes on to clarify that proceeds from a deaccessioned sale may not be used to pay for capital expenses such as staff salaries or ...
[56]
Deaccession Policy Guidelines: Protecting Your Collection and Your ...
Aug 20, 2025 · Establish clear, ethical deaccession policies that protect your collection while reinforcing transparency and public trust.
[57]
How to Let Go: Collections care meeting audience needs
Sep 21, 2025 · For example, with dashboard transparency, a deaccessioning news story is posted on a museum's website with no further explanation. In ...
[58]
[PDF] Deaccession Decision-Making During the COVID-19 Pandemic
Jul 26, 2022 · Each of the four museums chosen deaccessioned works of art to take advantage of AAMD's temporary change in deaccession guidelines to account for ...
[59]
Museums and COVID-19: from Deaccessioning to Reopening
Jun 25, 2020 · In the United States, the American Alliance of Museums (“AAM”) announced that American museums were losing at least $33 million a day and ...Missing: finances | Show results with:finances
[60]
Met to Deaccession $1 Million Worth of Prints and Photos to Make ...
Sep 17, 2021 · New York's Metropolitan Museum of Art is to sell 219 prints and photographs to make up for a $150 million budget shortfall caused by the ...
[61]
Brooklyn Museum to Sell 12 Works as Pandemic Changes the Rules
Sep 16, 2020 · With an encyclopedic collection and a large building that is far from Manhattan's Museum Mile, the organization has long struggled financially.Missing: shortfall | Show results with:shortfall
[62]
Brooklyn Museum to Cut Jobs Amid $10 Million Budget Deficit
Feb 7, 2025 · The Brooklyn Museum confirmed Friday that it would cut some union and non-union staffers as it faces a nearly $10 million budget deficit.Missing: deaccessioning | Show results with:deaccessioning
[63]
As Museums Try To Make Ends Meet, 'Deaccession' Is The Art ...
Aug 11, 2014 · Trustees at the Delaware Art Museum are trying to pay off a $19.8 million debt for a building expansion and replenish its endowment. So, in June ...Missing: RAM | Show results with:RAM