Whitney, Guggenheim, Fogg, Hammer Museum Directors Retiring

For the past few weeks, I’ve written about 2023’s anniversaries — births and deaths of great artists, the openings of distinguished museums, and a president’s murder. This year, lots of very good museum directors said they’ll retire, ending eras. I’ve picked four to profile. I’m in Christmas and New Year’s mode, but this story isn’t to be read in the spirit of “out with the old, in with the new.” The season is a time to reflect.

I won’t say that Adam Weinberg is retiring as director of the Whitney since he’s younger than I. He’s resting on his laurels, earned in acts of fortitude, charm, and heroism. I did one renovation and expansion — at the Addison Gallery and still lovely and practical — and was part of another at the Clark that’s nice-looking but impractical. Weinberg, my predecessor as Addison director, conceived and built for the Whitney an entirely new building — 55 galleries and all that goes with them — in a slummy neighborhood well south of its Upper East Side home. Call it a juggling act, a triumph in diplomacy, a vision gone right, or sheer chutzpah. He was the essential person.

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Brian T. Allen

Brian T. Allen is National Review’s art critic.

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For the past few weeks, I’ve written about 2023’s anniversaries — births and deaths of great artists, the openings of distinguished museums, and a president’s murder. This year, lots of very good museum directors said they’ll retire, ending eras. I’ve picked four to profile. I’m in Christmas and New Year’s mode, but this story isn’t to be read in the spirit of “out with the old, in with the new.” The season is a time to reflect.

I won’t say that Adam Weinberg is retiring as director of the Whitney since he’s younger than I. He’s resting on his laurels, earned in acts of fortitude, charm, and heroism. I did one renovation and expansion — at the Addison Gallery and still lovely and practical — and was part of another at the Clark that’s nice-looking but impractical. Weinberg, my predecessor as Addison director, conceived and built for the Whitney an entirely new building — 55 galleries and all that goes with them — in a slummy neighborhood well south of its Upper East Side home. Call it a juggling act, a triumph in diplomacy, a vision gone right, or sheer chutzpah. He was the essential person.