The Changing Landscape of Museum Collections

Museums are constantly acquiring art, yet a significant portion often remains tucked away in storage. In Los Angeles, a new approach is emerging that questions the traditional notion that owning art equates to exclusivity. Despite evolving over the years, the expansion of permanent collections in museums has largely stayed the same, with an average annual growth of around 2 percent. This growth might seem minimal, but it translates into a doubling of collections every 36 years. Consequently, many artworks celebrated by these institutions remain unseen, contributing to considerable financial and environmental burdens that affect both the institutions and the community.

The increasing volume of items means that only about 4 percent of a museum’s collection is typically on display at any given time, a figure that is likely to decrease as collections grow. By 1988, the storage expenses for major American museums were estimated at $300 million, and with inflation and collection growth taken into account, current costs could potentially consume over half of a museum’s operational budget. Moreover, as much as 60 to 70 percent of their energy expenditures are tied to HVAC and climate control systems necessary for safeguarding their collections.

The Tipping Point for Museums

There may soon come a point when the relentless increase of collections and the ongoing commitment to preserve them will surpass museums’ capacity to engage the public effectively. When a museum allocates more resources to storing art than to public interactions, it signifies a drift from its core mission. Consequently, there is a pressing need for innovative frameworks that enable museums to share and manage their collections more efficiently.

The Mohn Art Collective in Los Angeles represents a groundbreaking experiment in collaborative ownership. Announced in August 2024, this initiative allows nearly 300 artworks from the Mohns’ “Made in L.A.” collection, featuring emerging regional artists, to be co-owned by three institutions: the Los Angeles County Museum of Art (LACMA), the Hammer Museum, and the Museum of Contemporary Art (LA MOCA), collectively referred to as MAC3. In addition, the Mohns will oversee a dedicated facility for the collection, ensuring it can be viewed outside being loaned to the partner museums, as well as sustain an endowment for ongoing expansion.

Challenging Traditional Ownership Models

This unprecedented collaboration highlights a shift from the notion that museums must exclusively own all the art in their collections. While sharing digital art is becoming more accepted—allowing various institutions to exhibit copies simultaneously—traditional views on physical ownership complicate joint custodianship of tangible works. Furthermore, collectors often prefer to donate their pieces with the expectation that they will always be on display, complicating shared ownership scenarios. This approach leads to unsustainable economic and environmental challenges and limits public access to art.

As museums adopt new models of ownership, their collaborative efforts are evolving, yielding outcomes that are just starting to be understood. A recent example is the LA Arts Community Fire Relief Fund, which the Mohn Art Collective helped establish alongside major arts organizations to support individuals impacted by fires in Los Angeles. Another significant step in their collaboration took place at Frieze Los Angeles in February when they collectively selected two new pieces for the MAC3 collection.

Benefits of Collaborative Ownership

Joint ownership offers advantages not just for the public—who gain greater access to artwork—but also for the museums involved, which can explore new pathways for collaboration. A notable case is the partnership between Crystal Bridges Museum of American Art and Fisk University in Nashville, where a 50 percent stake in the Alfred Stieglitz Collection facilitated restoration and facilitated the rotation of artwork between the two institutions.

Annual reports often reflect a museum’s success primarily through the expansion of its collection. While there are valid reasons for adding to collections—such as highlighting the work of marginalized artists, filling gaps, and incorporating contemporary viewpoints—the associated costs can be significant, impacting both the museum and the public. By fostering shared collections, museums benefit collectors and donors eager to see their art appreciated, the public who gain greater access to diverse works, and the institutions themselves, as they navigate uncharted collaborative avenues. As Los Angeles rebuilds, embracing a spirit of generosity and collaboration may provide a framework for sharing art in innovative ways that reach broader audiences.