Each year at the Detroit Institute of Arts, we create experiences for visitors to connect with art by fostering joy and culture through our exhibitions, events, and community programming. Join me in looking back at the incredible moments and milestones of 2024. 

For the second consecutive year, the DIA was voted the best art museum in the nation by USA TODAY readers in 2024. Our award-winning drone video tour of the museum, which continues to generate excitement and serve as a source of pride among Detroiters, has been viewed thousands upon thousands of times around the globe.    

In 2024, more than 500,000 visitors walked through our doors. That includes 70,000 K-12 students and members from over 240 senior groups. Every day, we see the faces of our community’s youngest learners and eldest residents as they discover something new about art and experience a new installation at the DIA.    

Throughout the year, guests explored a captivating array of exhibitions, such as Regeneration: Black Cinema 1898 – 1971, the first of its kind offering a research-driven, in-depth look at the history of Black cinema in America; The Art of Dining: Food Culture in the Islamic World (concludes Jan. 5) exploring connections between art and cuisine from ancient times to the present day; and Tiff Massey: 7 Mile + Livernois (on view through May 11, 2025) featuring sculptures that celebrate Detroit’s evolving neighborhoods.  

We also invite you to experience Painted with Silk: The Art of Early American Embroidery (Dec. 13, 2024 – June 15, 2025). The exhibit highlights around 80 pieces that feature the cultural significance of needlework among schoolgirls from 1600 to 1830. 

Every year, our community exhibitions celebrate local student and community artists, building upon the DIA's commitment to serve as a hub for connection through art. In 2024, these exhibitions included Ofrendas: Celebrating Día de los Muertos, the Wayne County High School Art Exhibition, and the 87th Annual Detroit Public Schools Community District Student Exhibition. The Community Group Exhibition is currently on view through Jan. 5 and highlights art produced through long-standing partnerships with Detroit area human services agencies. Pieces for this exhibition — such as wall hangings, printmaking, ceramic footprints, and more — were created in collaboration with the DIA’s Artmaking Studio. 

But you do not have to step foot in the museum to see a masterpiece. We are making art accessible to all through programs such as Inside|Out, which installed reproductions of artworks in more than 25 cities and public spaces throughout the Tri-County area and on Mackinac Island. And thanks to our Partners in Public Art program, new community-driven murals were unveiled in Clinton Twp., Center Line, Harrison Twp., Hazel Park, and Farmington.

In 2024, we are also celebrating one year of outstanding leadership from Lane Coleman, Board Chair of the DIA. His tireless efforts reinvigorated the museum’s annual gala and uplifted the Center for African American Art, which will undergo a major reinstallation in 2025. 
 
As we close out the year, I want to thank every visitor and patron who brought such vibrancy and excitement to the DIA in 2024. To the residents of Macomb, Oakland, and Wayne counties, I am especially appreciative for your unwavering support. 

I look forward to an equally incredible 2025! 

This fall, the Detroit Institute of Arts earned the highest honor — a three-star rating — in Detroit's first-ever Michelin Green Guide. This prestigious recognition highlights the museum’s exceptional history, art collections and visitor experiences, while solidifying Detroit’s status as a world-class cultural destination.

For many, the Michelin name conjures images of fine dining. The Michelin Green Guide, however, focuses on travel and lifestyle, evaluating cities, regions, and landmarks, and guiding travelers to the most enriching and worthwhile cultural experiences. Earning a coveted spot in this guide –– especially with the highest possible rating of three stars –– puts the DIA among a unique group of institutions, including the Louvre Museum in Paris.”

So, what does it mean to be awarded three stars by the Michelin Green Guide? Quite simply, it means that the DIA has been recognized as an essential experience for anyone visiting Detroit — or, as the guide puts it, "worth a journey." This recognition speaks volumes about the museum’s role in the community and its extraordinary history, as well as the quality of our collection, our dedication to preserving and promoting the arts, and the museum’s profound impact on visitors from around the world.

The DIA is home to over 65,000 works of art, spanning thousands of years and a myriad of cultures. From ancient civilizations to contemporary pieces, our collection offers a glimpse into the universal human experience. Of course, one of our crown jewels is Diego Rivera’s Detroit Industry Murals, a National Historic Landmark that embodies Detroit’s industrial spirit and artistic innovation. I like to think of these murals as the Sistine Chapel of Detroit, inspiring thousands of art enthusiasts from around the nation and the world to make a special trip to the DIA!

But it’s not just our permanent collection that shines. The DIA consistently brings world-class exhibitions and engaging programs and lectures to the heart of Detroit. In September, we opened our latest exhibition, The Art of Dining: Food Culture in the Islamic World, which celebrates the rich culinary history of Islamic culture and art. The exhibition has received glowing reviews in the Wall Street Journal and New York Times!

To see Detroit featured in its first Michelin Green Guide, with the DIA awarded its top honor, is a reflection of the city’s revitalization. This recognition comes at a time when Detroit is not only reclaiming its place on the world stage but also redefining what it means to be a city steeped in both history and innovation. The DIA is proud to be a part of this story, contributing to Detroit’s cultural fabric and helping to shape the city’s future. We are more than just a museum; we are a place where people come together, to have fun, to enjoy an extraordinary experience and to engage with art, with each other, and with the world around them.

Our three-star rating is a testament to the passion, dedication, and creativity of everyone involved in making the DIA what it is today — from our staff and volunteers to our members, visitors and supporters. It’s a recognition that we have created something truly special — a space where the past meets the present, and where art becomes a bridge to the future.

So, next time you’re planning a visit to Detroit — or if you’re already here and looking to experience something truly special — remember that the Detroit Institute of Arts is not just a stop along the way. According to the Michelin Green Guide, we’re “worth the trip.”

In Madrid, Spain, where I was born, there is a tradition of eating “churros con chocolate” in the morning –– especially those early mornings after a late night out with friends. A churro is basically fried dough, in a ribbon form, sprinkled with sugar. It is delicious on its own and even better when dipped in hot chocolate. There is a lot of discussion about the origin of churros, and some credit China for its invention. In Spain, we believe that they were introduced to us during the time of the Islamic rule over the Iberian Peninsula (711 – 1492). For more than seven centuries, Spain was part of the Islamic world, which left an enriching and indelible mark on our language, culture, art and food, to name a few. In fact, some preserved cookbooks from the Spanish Islamic times, include instructions on how to make “al-Zalábiyya” (wheat dough, pressed through a circular hole, and dropped into a pan with hot oil) which is the first ancestor of the Spanish churro. 

I never thought that a churro, which I had always connected to Spanish history and traditions, would have such a fascinating story behind it. Furthermore, it made me realize that culinary practices of the Islamic world may have deep roots in society.  

The Detroit Institute of Arts just opened an exhibition that celebrates breaking bread and coming together around a table. It is called The Art of Dining: Food Culture in the Islamic World. In it, we explore Islamic art through the lens of food and all the traditions that go with it.  

One will not find a recipe for humble churros in it, but an amazing array of beautiful art objects loaned from some of the most important museums around the world. Guided by inspiring narratives throughout the galleries, we discover sophisticated dining utensils, elegant and practical dining outfits as well as musical instruments that were played while enjoying delicious foods. Furthermore, in the galleries you will be invited to smell some of the scents used to prepare the dining rooms before a meal and see some of the ancient books that recorded recipes, some of which bear some resemblance to those we still use today! 

In a more philosophical way, the show invites us to connect with our shared humanity. We are privileged to eat every day, benefiting from the wonderful fruits of nature, as we come together at the dining table. We all have some “art of dining” in our families and the food experience transcends all backgrounds, borders, and nationalities, as one can experience throughout this show. 

Every time we organize a new exhibition, we strive to create a space for you to see something new and beautiful that relates to some inspiring stories. Furthermore, we hope that this space will spark dialogue among different communities and bring some good to all of us as we work together to make our society better. In the meantime, we look forward to welcoming you to The Art of Dining soon –– and after that perhaps you can enjoy some churros that Detroiters produce in the area!

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The Art of Dining: Food Culture in the Islamic World is organized by the Los Angeles County Museum of Art. 

At the Detroit Institute of Arts, the exhibition is generously supported by the Friends of Asian Arts and Cultures.

The Art of Dining: Food Culture in the Islamic World has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. 

Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. 

It is with great pride and joy that the Detroit Institute of Arts team reflects on several remarkable achievements and the recognition that your museum has received this year. These acknowledgments from prestigious national and international platforms are a testament to our commitment to excellence, innovation, and community engagement. They also speak to the amazing work being done by DIA teams across the museum and beyond the walls of our building — from the work it takes to put on world-class exhibitions to the efforts put forth by our offerings in the community for all to enjoy. Thanks to your amazing support, we are thrilled to share with you the highlights of our accomplishments and the honors we have garnered this year.  

The Telly Awards, known for honoring outstanding video and television content, celebrated their 45th annual event this year. With nearly 13,000 entries from around the world, the competition was fierce, showcasing work that pushed the boundaries of creativity and embraced new storytelling formats. The DIA's "One Take Drone Fly Through" emerged as a standout, winning Gold Telly Awards in both the Non-Broadcast - Museums & Galleries and Non-Broadcast - Arts & Culture categories. Additionally, we proudly took home the Silver Telly Award in the Non-Broadcast - Drone & Aerial Cinematography category. This recognition underscores our dedication to utilizing innovative technologies to bring our collections to life in new and engaging ways. 

In addition to showing off the highlights of our magnificent museum to online audiences, this drone video is also part of the educational curriculum offered by the DIA. Each year, the DIA hosts tens of thousands of schoolchildren from Wayne, Oakland and Macomb County schools for free field trips, offered as part of our tri-county millage benefits. This fall, as more classes prepare to make a trip to the DIA part of their educational experience, they’ll first take an aerial tour of the museum and hear some informative art highlights. It’s just one more way we’re looking to further enhance these experiences for students of all ages.  

Read more about how this video came together with a behind-the-scenes look on our blog. 

In addition to these awards, the Detroit Institute of Arts was voted the nation’s best art museum in USA TODAY’s 2024 10Best Readers’ Choice Awards. This marked the second consecutive year we have been honored with this prestigious title. It is a testament to the hard work and passion of our entire team, and to the vibrant, supportive community that surrounds us. Being voted as the best art museum in the country is not just an accolade for the DIA; it is a celebration of the rich cultural heritage of Detroit, the enduring spirit of its people, and the deep DIA’s dedication to serving you. 

These awards are a reflection of our ongoing commitment to excellence in all that we do. From groundbreaking exhibitions to innovative use of technology, we strive to provide our visitors with transformative experiences that resonate on a deep and personal level in and outside our building. Our achievements this year are a direct result of the collective efforts of our dedicated staff, the unwavering support of our patrons, and the vibrant creativity of our community. 

Let’s continue this journey of excellence by aiming for a third consecutive win in the USA TODAY 10Best Readers’ Choice Awards! Watch our social media channels for an announcement about next year’s award and be sure to vote for the DIA. We are honored to serve you and work hard to provide you with an extraordinary visitor experience. 

Education and art go hand in hand, helping us learn and express our creativity in amazing ways. As we work every day to provide educational opportunities to students in our Tri-County area, we also look for opportunities to invest in education in other ways. 

That’s why each summer, I look forward to bringing in a new cohort of college students as interns. This year, we have the pleasure of hosting 14 talented interns as part of our 2024 Valade Internship Cohort and the Applebaum Family Philanthropy Internship Program, each bringing their unique skills and passion to various departments within our museum.  

These internships are not just about learning; they are fully paid positions, which enable our interns to focus entirely on their professional and personal growth. And all interns this year are from the Tri-County area, ensuring that this program gives back to the people and places that make the DIA strong. 

Internship positions are spread across several key departments at the DIA, including Volunteer Services, the Museum Shop, Donor Relations, Development Events, Accounting, European Art Curatorial, the Director's Office, Registration, Modern & Contemporary Art Curatorial, and Education Programs. Each intern works in a department that aligns with their academic background and career aspirations, providing them with hands-on experience and valuable insights into museum operations. 

We recently asked our interns to describe their experiences this summer in one word. They answered:  

“Immersive” 

“Inspiring” 

“Engaging” 

“Amazing!” 

It's a pleasure and a benefit to have these up-and-coming professionals contribute to our culture and business this summer. 

At the DIA, we are deeply committed to fostering the next generation of museum professionals. Through our comprehensive internship programs, we aim to provide a nurturing and educational environment where interns can develop their skills, gain practical experience, and explore various career paths within the museum field. Our dedication to teaching and mentoring ensures that each intern leaves with a greater understanding of the art world and the vital role museums play in preserving and promoting cultural heritage. 

Our DIA Valade Internship Program interns and our distinguished Applebaum Fellows embody the future of the museum field. Their contributions this summer will undoubtedly leave a lasting impact on the DIA, and we are honored to be a part of their professional journeys. 

“There are those who look at the early generations of this country from the turn of the century, the industrial era, as the great people of Detroit. Then, later on, in the post-World War II era, as those who reconfigured the city after the challenges that were experienced here. 

But there is yet another generation that has manifested itself after we baby boomers. They are often disparaged and decried; they are often treated with contempt. The young men and women that inhabited this city when it was at the pinnacle of its devastation — and yet they carried on by creating their music, their art, and, in the case of Tiff, creating an entire articulation of the grandeur, the sheer magnificence of Detroit itself.” 

These powerful words from Detroit cultural icon and DIA board member, Marsha Philpot, aka Marsha Music, were shared at the opening of Tiff Massey: 7 Mile + Livernois at the Detroit Institute of Arts, as reported by the Detroit Free Press. She spoke to the overwhelming joy and power that so many people — so many Black Detroiters, especially — felt upon seeing Detroit artist Tiff Massey’s exhibition. 

So many visitors to the exhibition share the same reflections: The artwork and the accompanying messages from the artist herself made them feel seen, validated, recognized, and celebrated. 

Featuring large-scale sculptural works, 7 Mile + Livernois includes 10 works by Massey, four of which were commissioned by the DIA. These new pieces engage in a fascinating dialogue with two works from the DIA's permanent collection: Donald Judd’s Stacks and Louise Nevelson’s Homage to the World — both pieces you may have seen before in the DIA’s contemporary galleries. 

As I walk through the exhibition, I’m continually struck by the extraordinary nature of the art. Massey's larger-than-life pieces speak to the value and joy of adornment, as well as the unique culture of Detroit. These works are by and for the Detroit community yet speak to everyone —  a fact that shines through every corner of the exhibition.  

7 Mile + Livernois refers to the neighborhood at the heart of Detroit’s Black business and fashion district. It’s also where Tiff Massey grew up, and the site of a new art and community space she is building. It’s her home. Tiff’s commitment to the community is a value we share at the DIA. Our work is to serve the community.   

I first met Tiff over a decade ago, during a community dinner in Detroit. I was immediately impressed by her talent, and over the years, I’ve been thankful to witness her growth and success as a multimedia artist. This exhibition has offered me the opportunity to see the artist at work, showcasing her commitment to quality and excellence. 

Some may think that Tiff’s creations are part of the work of a conceptual artist, and this might be a possible analysis. When one walks in the DIA galleries surrounded by Tiff’s powerful creations, there is certainly a conceptual vision, however the experience is radically emotional. Detroit is a city known for innovation and pride; for ideas and emotions; and Tiff represents that at the highest possible level. As she explains in an interview with Detroit Metro Times, "I came to seduce and to make you question why these objects exist." 

Hosting 7 Mile + Livernois at the DIA is incredibly significant. Massey feels that being highlighted at the city’s primary art museum is a testament to the acknowledgment of local talent. She said in the interview with the Detroit Metro Times, "It’s always important to acknowledge what talent you actually have surrounding you and nine times out of 10, a lot of the institutions do not do this, and so I’m definitely appreciative of the platform and the opportunity to show what Detroiters can do."

There is no other place I would rather see this show debut than at the DIA. Please join us and experience this extraordinary fusion of art and community, here at your museum. It’s an exhibition that will leave you with a deeper appreciation of Detroit’s cultural heritage, and the transformative power of artistic expression. 

Tiff Massey: 7 Mile + Livernois is open through May 11, 2025, at the DIA. Visit dia.org/TiffMassey to learn more. 

June is the last month to visit our very successful show Regeneration Black Cinema 1898 – 1971. Almost 50,000 people have already seen it, and many school field trips have flooded the galleries to experience this extraordinary story of struggle and success. Thanks to the great work of our DIA team and Board of Directors, we are able to offer this exhibition free of charge with general admission to the museum, which is free for residents of Wayne, Macomb and Oakland counties. 

I have personally learned so much from this show. Perhaps the most inspiring moment was when I learned that one of the artists featured in the exhibition —considered in the 1950s to be the “Eighth Wonder of the World,”— is a lifelong Detroiter and currently lives in our very own neighborhood. His name is Frank “Sugar Chile” Robinson, and he was a “child star in the 1940s, reminiscent of the actress Shirley Temple. He was immensely popular, even living and playing in Europe as a child. He was born in Detroit, and his gift as a pianist was obvious early on. He was a child prodigy and appeared in Hollywood films […]. Over time, he vanished from the national scene, although he played in churches in Detroit.” 

DIA board member, artist and Detroit living legend Marsha Battle Philpot (aka Marsha Music) wrote these words of praise. She was the one who pointed out to me the Detroit connections in the Regeneration promotional poster that reads: “ALL AMERICAN NEWS! SUGAR CHILE ROBINSON, THE EIGHTH WONDER OF THE WORLD.” Furthermore, she shared with me that she knew Frank and that it would be an extraordinary moment to bring him to the DIA and walk through the exhibition with him. She was right. In April, with the help of Marsha’s friend, Larry King, we welcomed Sugar Chile and some of his family members to the museum to visit the Regeneration exhibition. It was a magical moment when Sugar Chile posed next to his promotional poster and smiled, sharing with us some thoughts about his musical gift and his world-famous performances. We were all transported back in time, bringing the exhibition to life like no one else has experienced it.

“When my mother and father came up [to Detroit] from the south, they brought an upright piano with them,” he shared. “While my mother was cooking and cleaning the house, I would always bang on the piano, until finally, when I was listening to the radio, I could copy whatever I heard.” 

Between taking photos and video to immortalize the moment, we heard his insights, stories and jokes. At one point, someone asked him, “Why did they call you the ‘Eighth Wonder of the World?” Without missing a beat, he replied: “Because there were already seven.” 

Following Masha Music’s advice, we have invited Sugar Chile Robinson to perform at the DIA’s auditorium. On June 22 at 7 p.m. he will be performing before we play the film Stormy Weather. It will be the last weekend that Regeneration will be on view at the DIA. And to celebrate this magnificent show and history, we will have no less than “The Eighth Wonder of the World” on stage. It only happens in Detroit.

Regeneration: Black Cinema 1898 – 1971 is organized by the Academy Museum of Motion Pictures. 

At the Detroit Institute of Arts, lead support is generously provided by The Gilbert Family Foundation. Major support is provided by JPMorgan Chase & Co. Additional support is provided by the DTE Foundation and Amazon.

My favorite science documentaries are hosted by British theoretical physicist Jameel Sadik ‘Jim’ Al-Khalil. At the beginning of his 2011 docuseries Everything and Nothing,  standing on a deserted sandy beach, Al-Khalil says:

“Imagine that our sun is just the size of a single grain of sand. Our sun is just one of a multitude of stars, it is surrounded by about 200 billion of them, in our Milky Way galaxy alone. Our sun is just a speck in the vast beach of stars. The Milky Way galaxy is, in itself, one of 100 billion galaxies scattered throughout the cosmos. It has been estimated that there are more stars in the universe than there are grains of sand on all the beaches in all the world. Just think about that for a moment.”

Sometimes, during a museum visit, one can be transported into similar thoughts. For example, at the DIA we show one of the earliest European depictions of the stars at night, The Agony in the Garden. Sassetta, a Sienese painter, created this work representing the biblical story of the Agony in the Garden of Gethsemane on a starry night. He used a dark background to paint the night sky, in which he drilled tiny holes, later filled with silverleaf, that reflect the light creating the shiny glitter of the stars in the distance: The Milky Way galaxy. This is a remarkable representation for an artist of the 1400s.  

In and out of the museum, stars mesmerize us, and we travel short and long distances to see them at different times of the year. On April 8, the moon passed between our “local star”, the sun, and the Earth, producing a total solar eclipse. This stellar spectacle provided us all with a moment of community connection that was unlike anything we experience in our day-to-day lives. DIA staff joined so many others in gathering on the museum grounds to witness the historic moment when the moon’s shadow was cast on Earth. Total solar eclipses happen over time and the next one will be in August 2026 and visible from Spain! 

In preparation for April’s eclipse, the DIA team looked at the museum’s history and found that another famous solar eclipse had been visible in Detroit on August 31, 1932. Frida Kahlo and Diego Rivera, both working on their art at the DIA at that time, witnessed it from the roof of the museum. Ford Motor Company photographer WJ Stettler captured this moment of wonder in a now famous image. Inspired by this photograph, the DIA team recreated the Kahlo-Rivera scene with another image taken during the April 8 solar eclipse, featuring James Burts, Museum Maintenance, Ani Garabedian, Community Engagement Programs Manager, Phil Rivera, Volunteer Services Director, and Alesha Hamilton and Sherri Barnes, Museum Security Officers. DIA’s photographer, Eric Wheeler, immortalized this moment for posterity. This was a brilliant DIA initiative. 

As the sun warms the Earth’s northern hemisphere over the upcoming months, the summer is a great time for both stargazing and visiting the DIA. Be ready for special art experiences including the opening of the exhibition, 7 Mile + Livernois, by a Detroit star: interdisciplinary artist Tiff Massey. 

As the warmer months of spring settle in, I am reminded of a Spanish proverb: “Marzo ventoso y Abril lluvioso sacan a Mayo florido y hermoso,” which in other words means: “A windy March and a rainy April, make May a month of bounty blooms.” This proverb stems from the traditional wisdom of Spanish farmers, who looked to the weather needed during these months to ensure abundant harvests later in the year. It also reminds me of a painting on view in the DIA galleries that tells the story of a farmer, the love for flowers, and the ability to capture them with intense realism. 

On the DIA’s the second-floor south spine, we display one of the greatest Spanish still-life paintings of the 17th century. On a long-term loan to the museum from a private collection for decades, this work painted on a panel represents an austere vase with flowers. Spanish artist Juan Fernández painted this circular painting in 1636. We do not know much about his personal life, except that he was nicknamed “El Labrador” or “The Farmer,” implying that he cultivated land. Nothing is known of his training as a painter, and it is very possible that he was a self-taught artist who lived as a recluse, farming his land away from the buzzing life of the Court of Madrid. Most information we have about his artistic activities is from the 1630s, including the commissions he received from English diplomats in Madrid on behalf of King Charles I of England. It is interesting to note that El Labrador was one of the first Spanish artists recognized internationally and his most coveted works were still-life paintings representing bunches of grapes and vases with flowers. In fact, King Charles I had some of Labrador’s still-life paintings in his famous collection. 

The painting at the DIA, Vase of Flowers, shows a bouquet of flowers — including roses, irises, narcissuses, and retamas, among others — in an arrangement that fits the panel’s circular shape. The bouquet sits on a ledge against a dark background. It is illuminated by a dramatic light from the left side, which modulates every petal and leaf, creating a three-dimensional effect throughout the composition. Each flower is painted with the attention of a botanist, and to indicate the masterful rendering, a butterfly with orange and brown wings — perhaps a Monarch — poses on a pink rose to the left. The flowers are set inside a worn pottery jar. This humble object aligns well with the idea of the modest life of this farmer painter, who chose such a jar instead of depicting a Venetian crystal vase or any other luxurious vessel as was the custom of the Madrid flower painters of the time. The dry, humble material of the jar juxtaposes the fresh satin-smooth delicacy of the surrounding petals, triggering our imagination. 

This magical painting by El Labrador is perhaps his masterpiece and could certainly hang in the permanent display of the most famous museums around the world, from the Prado in Madrid to the Louvre in Paris. It has a superb artistic quality equal to any works by the celebrated Caravaggio, and it is also extraordinarily modern. It almost feels as if this painter farmer, on one given morning, collected some flowers from his backyard, put them inside an everyday kitchen jar, and painted them, as though he was meditating on the beauty of creation. I am pretty sure that like every Spanish farmer, El Labrador wished for a windy March and rainy April, so he could paint these amazing flowers later in May. From the fields of Spain to the galleries of the DIA, we can all enjoy art and nature coming together, as we welcome the season of flowers in Michigan.  

This piece originally ran as an op-ed in the Wall Street Journal.

Nearly four years after the Covid-19 pandemic began, art museums in the U.S. continue to struggle. According to the American Alliance of Museums’ annual survey of museum-goers, published in November 2023, visitation at two-thirds of them remains below pre-2020 levels. Pandemic relief funds are depleted, and other forms of government support are being scaled back. In addition, inflation is driving up operating costs.

Some museums have responded by raising ticket prices, curtailing programming and cutting staff. Unfortunately, the Dallas Museum of Art, the San Francisco Museum of Modern Art and the Solomon R. Guggenheim Museum have all implemented layoffs. Earlier this month, New York’s Rubin Museum announced plans to sell its building and transition to a “museum without walls” approach.

At the Detroit Institute of Arts, we know what it is to face financial uncertainty. Between the Great Depression and 2012, we lived with it. The year after the 2008 recession, for example, the leadership was forced to lay off nearly 90 employees. Struggling with minimal public funding, an insufficient $62 million operating endowment, and a $26 million operating budget, our days seemed to be numbered. We had a $25 million line of credit and relied on private donors and corporations to raise the necessary funding for us to break even at the end of the year. It felt as if our mission was simply to survive.

Yet since 2012 the DIA has been on a path to financial self-sufficiency using a new business model. We believe it could serve as a framework for other institutions in today’s difficult economic climate.

That year, the residents of Macomb, Oakland and Wayne counties, which surround and include the DIA, voted in support of a millage, a property tax whose proceeds would be collected and transferred to the DIA to be used for the support and operation of the museum for a period of 10 years. Thus, a property owner with a home value of $200,000 pays approximately $20 per year in additional taxes.

The millage gave the DIA something it never had: revenue predictability. Every year for a decade the museum was able to count on enough revenue to provide about two-thirds of its operating budget. The remaining third came primarily from fundraising and earned income. Any additional funds raised were invested in our operating endowment to secure the museum’s future. Our business model helped to ensure that during the pandemic, the DIA could operate without layoffs or furloughs.

The millage laid the groundwork for a partnership between the museum and the Tri-County communities that keeps the DIA fully engaged and relevant to our diverse audiences. Residents receive unlimited free general admission to the museum and the majority of our temporary exhibitions. Furthermore, we provide free field trips for all K-12 school groups and local senior organizations, including the cost of group transportation. We also partner with municipalities and nonprofits to bring museum experiences outside of the building and directly into the community.

Yet this hard-won progress was nearly lost in 2013 when Detroit filed for bankruptcy. Because the city owned the museum building, its grounds and the art collection—one of the best encyclopedic collections in the country, one that includes the first Van Gogh and Matisse paintings to enter an American museum, the celebrated Diego Rivera murals and one of the top collections of African-American art in the world—there was a real possibility that all or part of our holdings would be sold to satisfy the city’s creditors.

Fortunately, through the generosity of foundations, corporations, individuals and city pensioners, that didn’t happen. And today, no longer owned by the city of Detroit, the DIA operates as an independent nonprofit holding the museum’s assets in a perpetual charitable trust. But that near-death experience confirmed the wisdom of our long-term plan.

In 2020 Tri-County residents voted to renew the millage through 2032. And so, thanks to this support, plus our fiscal responsibility and fundraising, the DIA is now in the best financial position in its history and carries no debt. This fiscal year, the millage is expected to provide $28.6 million—68% of the museum’s annual $41.8 million operating budget. The remainder of our budget continues to be supported primarily by fundraising and earned income.

Consequently, we are able to maintain full staffing levels, robust community engagement, a growing reputation for our world-class exhibitions, meaningful educational programs and new opportunities for emerging artists. Visitation levels are now very close to pre-pandemic levels, with over 600,000 visitors coming to the DIA in 2023.

Just as important, we have the breathing room to continue executing the long-range plan of building our operating endowment, currently valued at $385 million. Our goal is to reach $500 million by 2027 and about $800 million by the time the millage ends. We currently don’t withdraw funds from our operating endowment, but instead reinvest its income. Once we reach our goal, this endowment will generate enough revenue to replace what the museum annually receives from the millage, allowing us to weather economic uncertainty while continuing to deliver world-class art and educational experiences.

Though our model may not be replicable in every community, we believe it illustrates how creative partnerships can form between the public and cultural institutions. It is through this unique funding model that we can find an alternative path to sustainability for cultural institutions. We still have a lot of work to do to get our operating endowment to the level that we need to achieve financial independence, but we have a realistic path to accomplish this goal. We are very grateful for the support we receive from our Tri-County communities and we look forward to continuing to serve them at the highest possible level.

Mr. Salort-Pons has served as the director of the Detroit Institute of Arts since 2015.