In this bonus episode, we’re joined by the newly appointed director and CEO of the Solomon R. Guggenheim Museum and Foundation, Dr. Mariët Westermann, who is the first female appointed to the role. Mariët oversees the “constellation” of museums—four over three continents united, she says, in one mission, “to create opportunities for anyone to engage with the transformative and connective power of art and artists”. Mariët is inheriting opportunities and challenges, and we delve into some of those, from the back histories to the budgets. She talks to us about the future of the museum—from plans for the opening of the Guggenheim Abu Dhabi to the nuts and bolts of balancing the books. One of the key changes Mariët advocates for is a shift in the institutional mindset. Rather than taking a defensive stance, where the museum might try to address gaps or criticisms reactively, she hopes for a move towards a more open approach. "We are learning communities," she says. "We're full of curious people. Artists are curious." All this and much more in this special episode, which brings to an end our second season.

What if you were embroiled in a public workplace controversy? And what happens on the other side of the headlines—would you walk away from your field, or would you reengage with it to try and improve upon it? This very special episode is a break from the norm. In it, we discuss museums and change—and what it takes to get to that change. We’re joined by three curators—Mia Locks, director and co-founder of Museums Moving Forward; Fatoş Üstek, curator and former director of the Liverpool Biennial; and Laura Raicovich, writer, curator, and former president and executive director of the Queens Museum. Each of them has been through a public furor. In those moments, they have found a lack of institutional support and, afterwards, each has shifted from their previous career paths. But each has reengaged with the field in more ambitious and ultimately hopeful ways. Museums can't be taken for granted. But what does it take to create change? Tune in now for more. 

This time, we’re joined by the artist LaToya Ruby Frazier, just before the opening of her major new exhibition 'Monuments of Solidarity' at the Museum of Modern Art in New York. “This exhibition spiritually uplifts people,” she says. “It inspires people to be the change they need, but it also inspires them to be better human beings. To look beyond the self, to look beyond individualistic desires, to think about the fact that you are connected to an ecosystem and a world around you. People won't be the same. This is a transformative exhibition.” We delve into LaToya’s faith and the impact of art on our lives, its power not only to shine light into the darkness, but to move through people and communities and so to create profound, lasting change. Enjoy.

In this episode, we visit the Legacy Sites in Montgomery, Alabama, including the newly opened Freedom Monument Sculpture Park, a 17-acre site on the banks of the Alabama River. We interview their founder, the lawyer and civil rights hero, Bryan Stevenson, who says that a founding narrative of racial difference was created in America that “was like an infection. I believe the infection has spread. We've never treated that infection and the consequences of it are still with us today.” The US has never created cultural sites that have “motivated people to say, ‘never again can we tolerate racial bigotry, can we tolerate racial violence, can we tolerate the kind of indifference to these basic human rights’. So, that's what we're trying to achieve.” Hope and resilience inform the Legacy Sites. “I've always argued that hopelessness is the enemy of justice and that hope is an essential feature of what we do. I have to believe things I haven't seen,” Stevenson says. “I think we need an era of truth and justice, truth and reconciliation, truth and restoration, truth and repair,” Stevenson adds. “But we can't skip the truth-telling part.”

This time we welcome Karen Patterson, the Executive Director of the Ruth Foundation for the Arts. The organisation immediately became a major player when it launched in 2022, announcing plans to give away up to $20 million a year to arts organisations, thanks to a $440 million bequest from Ruth DeYoung Kohler. We delve into the what-ifs of philanthropy, the foundation's ethos, and its ambitious initiatives. Through a focus on generosity, experimentation, and consideration, Ruth Arts aims to transform the philanthropic landscape. “What if we made a big difference? What if people saw themselves as valuable?” Karen asks. “What if people saw themselves as cared for?”

“The market is poised for a big fall, so it's more ‘when’, than ‘what if’,” says Allan Schwartzman, founder of the podcast. He’s back on the show to talk all about the state of the art market and the broader implications of its changing dynamics for the artists and for the cultural landscape at large. "Greatness doesn't grow at the same rate as a population does," says Allan. "Greatness is extremely rare. And right now we're at a moment where I think there's greater confusion than ever about what actually is going on in art and what will be seen as significant 20 or 30 years from now."

We welcome back Kemi Ilesanmi, the former executive director of the Laundromat Project and one of the standout stars of our first season. In season one, Kemi was just about to head off on the trip of a lifetime around 13 countries, including ten in Africa. She promised to come back and tell us how the trip changed her ‘What Ifs.’ “I'm looking for freedom of movement, freedom of ideas, and freedom of manifestation of those ideas. Right now, it feels like I can only find that by working outside of any singular institution.” Kemi talks about creating a “beautiful, joyful, sustainable, cultural infrastructure for black and brown people across the globe” and asks, “What if that were possible? And what if I could help with that? And who else could help with that?”

For the second part of our interview with Koyo Kouoh, the chief curator and executive director of Zeitz MOCAA, we hear about how she has worked to overhaul the infrastructure of the institution internally as well as better connect the museum externally within Cape Town. Koyo talks about how “colonialism as an enterprise, as a model of global relating, has done a lot of harm that we are still mending and attending to.” She says: “That is a field of thinking, a space of emotion and knowledge that I am deeply passionate about. And that is why my investment in the space of Black geographies is so profound.”

Joining us from Cape Town in South Africa is Koyo Kouoh, the chief curator and executive director of Zeitz MOCAA for the first in a two-part special. Originally destined for a career in finance, Koyo talks about her journey into the art world, and from Basel in Switzerland to Dakar in Senegal, where she founded RAW Material Company in 2008. She tells us about her move to South Africa in 2019 to take over at Zeitz MOCAA, a new institution, but one in crisis. “We need to take the time to do the things that are urgent, that are essential, that are necessary,” Koyo says. “And, for me, building out institutions on the continent is a matter of urgency.” 

Legendary art dealer Barbara Gladstone joins us for a very rare interview from the studio in New York. What would she do differently if she started a gallery today? “I probably wouldn't do it,” she says. 

Barbara has been at the top of the business since the 1980s and now represents more than 70 artists and estates. She tells us how she started out with a small print business, and how things developed from there. We talk about art now, the future of the gallery, and what she would change about the art market, including the “idea that collecting is shopping, because I think that there is something that art adds to life,” she says. “What is really interesting is that it's not over,” she says. “It's not even over when the artist dies because there's constant evaluation and re-thinking going on. And when you put one work in proximity to another work 50 years later, something new can happen. I mean, I think that's why it's important.”