When I started at Dia in 2015, our then-small board of 11 had an appetite and eagerness for change. We also had a mission that remained relevant and broad enough to encompass new thinking, a young audience who appreciated the specificity of the program, and a dedicated team that valued what was different about Dia—primarily, placing the artist at the center of all that we do and prioritizing long-term engagement.

But there were a few key things we lacked: visibility, a robust program across all our sites, breadth and depth of funding, and, most significantly, diversity in our collection, exhibitions, and displays. In Dia’s collection of 31 artists in 2015, five were women and only one, On Kawara, was a person of color. In the bigger picture, the fact that 18 percent of artists in the collection were women was unfortunately not far off many other institutions, but Dia’s history had been so indelibly tied to a few white males that their presence was arguably overwhelming. Though Dia was founded by two women and a man, the 11 artists that formed the basis of the collection in 1974 were all men and it remained as such until the early 2000s.

With the opening of Dia Beacon in 2003, Dia had come to be seen as a center for the work of artists who came to the fore in the 1960s and ‘70s, but the history that was being presented was partial to say the least—excluding the rich complexity of identities and subject positions in Minimal, Conceptual and Land art practices both globally and locally.

Η συνέχεια εδώ.