2014-05-14T09:48:41-05:00 2013-06-30 271728945 O'CONNOR DAVIES LLP 665 FIFTH AVENUE NEW YORK NY 10022 990 2012-07-01 112278998 QUEENS MUSEUM OF ART NEW YORK CITY BUILDING QUEE 7185929700 FLUSHING MEADOWS CORONA PARK QUEENS NY 11368 PETER MEYER 7185929700 2014-05-02 1 GARRETT M HIGGINS P00543209 2122862600 2012 2015-11-30 17:44:51Z PETER MEYER FLUSHING MEADOWS CORONA PARK QUEENS NY 11368 14861443 0 X WWW.QUEENSMUSEUM.ORG X 1972 NY SINCE ITS FOUNDING IN 1972, THE QUEENS MUSEUM OF ART (QMA) HAS BEEN INTIMATELY CONNECTED TO ITS 24 24 94 44 0 0 10887943 14407937 190770 196198 8807 5526 6750 111090 11094270 14720751 15278 19402 0 0 2333411 2363670 0 0 329963 1795264 2154613 4143953 4537685 6950317 10183066 23108994 33308860 287946 304746 22821048 33004114 X THE QUEENS MUSEUM OF ART IS DEDICATED TO PRESENTING THE HIGHEST QUALITY VISUAL ARTS AND EDUCATIONAL PROGRAMMING FOR PEOPLE IN THE NEW YORK METROPOLITAN AREA, AND PARTICULARLY FOR THE RESIDENTS OF QUEENS, A UNIQUELY DIVERSE ETHNIC, CULTURAL AND INTERNATIONAL COMMUNITY.THE MUSEUM FULFILLS ITS MISSION BY DESIGNING AND PROVIDING ART EXHIBITIONS AND EDUCATIONAL EXPERIENCES THAT PROMOTE THE APPRECIATION AND ENJOYMENT OF ART, SUPPORT THE CREATIVE EFFORTS OF ARTISTS, AND ENHANCE THE QUALITY OF LIFE THROUGH INTERPRETING, COLLECTING, AND EXHIBITING ART, ARCHITECTURE, AND DESIGN.THE QUEENS MUSEUM OF ART PRESENTS ARTISTIC AND EDUCATIONAL PROGRAMS AND EXHIBITIONS THAT DIRECTLY RELATE TO THE CONTEMPORARY URBAN LIFE OF ITS CONSTITUENTS WHILE MAINTAINING THE HIGHEST STANDARDS OF PROFESSIONAL, INTELLECTUAL, AND ETHICAL RESPONSIBILITY. 0 0 1775658 121343 EXHIBITIONSEXHIBITIONS ARE AT THE CENTER OF ALL PROGRAMS ORGANIZED AT THE QUEENS MUSEUM OF ART. THE MUSEUM'S PERMANENT AND SPECIAL EXHIBITIONS OF MODERN AND CONTEMPORARY ART RECEIVE WIDE ACCLAIM AND ATTRACT ATTENTION FROM A BROAD AND DIVERSE COMMUNITY. QMA HAS DISTINGUISHED ITSELF AS ONE OF THE CITY'S MOST DRAMATIC AND EXCITING PLACES TO VIEW ART, AS EVIDENCED BY REGULAR FEATURE ARTICLES IN THE NEW YORK TIMES, TIME OUT NEW YORK, ART IN AMERICA, LOCAL NEWSPAPERS IN QUEENS, AND MYRIAD NATIONAL AND INTERNATIONAL PUBLICATIONS. WITH A VARIED EXHIBITION SCHEDULE THAT INCLUDES BOTH CRITICAL CONTEMPORARY ART PRESENTATIONS AND IMPORTANT HISTORICAL EXAMINATIONS OF SUBJECTS PERTINENT TO THE EVER-CHANGING BOROUGH, THE MUSEUM STRIVES TO PRESENT OFFERINGS THAT WILL APPEAL TO EVERY MEMBER OF THE VARIOUS COMMUNITIES IT SERVES. OUR PERMANENT AND LONG-TERM EXHIBITIONS CONSIST OF THE PANORAMA OF THE CITY OF NEW YORK A 9,335-SQUARE FOOT MODEL OF ALL FIVE NEW YORK CITY BOROUGHS BUILT BY ROBERT MOSES FOR THE 1964 WORLD'S FAIR; TIFFANY GLASS: SELECTIONS FROM THE NEUSTADT MUSEUM OF TIFFANY ART A DISPLAY OF DR. EGON NEUSTADT'S TIFFANY OBJECTS THAT WERE ONCE FABRICATED IN CORONA, QUEENS; THE RELIEF MAP OF THE NEW YORK CITY WATER SUPPLY SYSTEM, A 540-SQUARE FOOT TOPOGRAPHICAL MAP BUILT FOR THE 1939 WORLD'S FAIR BUT NEVER EXHIBITED; AND OUR COLLECTION OF 1939 AND 1964 WORLD'S FAIR MEMORABILIA. TEMPORARY EXHIBITIONS AT QMA FALL INTO THE FOLLOWING CATEGORIES:1. MULTICULTURAL AND NEW YORK CITY INSPIRED EXHIBITIONS: EMBRACING BOTH OUR SITE AND COMMITMENT TO PRESENTING THE WORK OF INTERNATIONAL ARTISTS, OUR RECENT EXHIBITS INCLUDE INDIVIDUAL ARTIST PROJECTS, GROUP EXHIBITIONS AND MAJOR COLLABORATIONS WITH NEW YORK CITY-BASED CULTURAL INSTITUTIONS. IN 2012-2013 THE QMA PRESENTED: NIYETI CHADHA: A SCRIPT FOR A LANDSCAPE: CHADHA TRANSFORMED THE MUSEUM'S UNISPHERE GALLERY WITH A SITE-SPECIFIC DRAWING THAT WAS HALF IMAGINARY AND HALF ABSTRACTION. QUEENS INTERNATIONAL: THREE POINTS MAKE A TRIANGLE -THE FIFTH EDITION OF THE QUEENS MUSEUM OF ART'S BIANNUAL SURVEY OF ARTISTS LIVING AND WORKING IN THE BOROUGH. QUEENS INTERNATIONAL FEATURED 31 MULTI-NATIONAL ARTISTS BASED IN ASTORIA, FLUSHING, JACKSON HEIGHTS, LONG ISLAND CITY, KEW GARDENS, RICHMOND HILL, AND RIDGEWOOD. FRANK OSCAR LARSON: 1950S NEW YORK STREET STORIES FRANK OSCAR LARSON (1896-1964) WAS BORN IN GREENPOINT, BROOKLYN, OF SWEDISH IMMIGRANT PARENTS AND LIVED IN FLUSHING, QUEENS MOST OF HIS LIFE. STREET STORIES EXHIBITED MORE THAN 50 OF LARSON'S BEAUTIFUL BLACK AND WHITE PHOTOGRAPHS OF NEW YORK STREET SCENES. GREG SHOLETTE: FIFTEEN ISLANDS FOR ROBERT MOSES: FIFTEEN ISLANDS FOR ROBERT MOSES WAS A SITE-SPECIFIC ART INTERVENTION ON THE PANORAMA OF THE CITY OF NEW YORK. ADA BOBONIS: STAGES, MOUNTAINS, WATER: BOBONIS' SITE-SPECIFIC INSTALLATION ENTITLED TRANSFORMED THE MUSEUM'S SECOND FLOOR GALLERY SPACE INTO AN INVIGORATING CHROMATIC ENVIRONMENT EVOKING THE CARIBBEAN LANDSCAPE. CARIBBEAN: CROSSROADS OF THE WORLD: IN AN UNPRECEDENTED COLLABORATION ORGANIZED BY EL MUSEO DEL BARRIO WITH THE QUEENS MUSEUM OF ART AND THE STUDIO MUSEUM IN HARLEM, CARIBBEAN: CROSSROADS OF THE WORLD, WAS AN AMBITIOUS AND TRAILBLAZING EXHIBITION, HIGHLIGHTING OVER TWO CENTURIES OF RARELY-SEEN WORKS FROM THE HAITIAN REVOLUTION (C. 1804) TO THE PRESENT. THE SHOW FEATURED MORE THAN 400 WORKS INCLUDING PAINTING, SCULPTURE, PRINTS, BOOKS, PHOTOGRAPHY, FILM, VIDEO AND HISTORIC ARTIFACTS FROM VARIOUS CARIBBEAN NATIONS, EUROPE AND THE UNITED STATES.2. THE PARTNERSHIP GALLERY: THE MOST ACTIVE SPACE IN THE GALLERIES, THE PARTNERSHIP GALLERY, BRINGS TOGETHER THE QMA EDUCATION, PUBLIC EVENTS, AND EXHIBITION DEPARTMENTS IN PROVIDING OPPORTUNITIES FOR OUR CULTURAL AND NONPROFIT ORGANIZATIONAL PARTNERS AND TO DEVELOP AND MOUNT EXHIBITIONS BASED ON THEIR PROGRAMS. ADDITIONALLY, THE PARTNERSHIP GALLERY REGULARLY SHOWCASES THE WORK OF STUDENTS WHO PARTICIPATE IN OUR EDUCATION DEPARTMENT PROGRAMS. THE PARTNERSHIP GALLERY MOUNTS OVER 20 SHORT-RUN EXHIBITIONS ANNUALLY. THE MUSEUM SEES EACH OF THESE EXHIBITS AS A MEANS TO MAINTAIN AND FORTIFY OUR TIES WITH COMMUNITY PARTNERS. EXHIBITIONS RANGE FROM AN ANNUAL SHOW OF ARTWORK FOR WORLD AIDS DAY, TO AN EXHIBITION OF WORK BY STUDENTS IN OUR ARTACCESS PROGRAM FOR JAILED JUVENILES AT ISLAND ACADEMY ON RIKER'S ISLAND. 833218 19402 101520 EDUCATION PROGRAMSTHE QUEENS MUSEUM OF ART PRESENTS ARTISTIC AND EDUCATIONAL PROGRAMS AND EXHIBITIONS THAT DIRECTLY RELATE TO THE CONTEMPORARY URBAN LIFE OF ITS CONSTITUENTS WHILE MAINTAINING THE HIGHEST STANDARDS OF PROFESSIONAL, INTELLECTUAL, AND ETHICAL RESPONSIBILITY. WITH A STAFF OF NINE FULL-TIME AND TWENTY PART-TIME EDUCATORS, THE EDUCATION DEPARTMENT IS THE LARGEST AT QMA, SIGNALING OUR COMMITMENT TO DIVERSITY, INCLUSION AND PARTNERSHIP. QMA IS NOT ONLY A RENOWNED ART AND HISTORY MUSEUM; IT IS ARGUABLY THE LARGEST NONPROFIT PROVIDER OF K-12 ARTS EDUCATION SERVICES IN THE BOROUGH OF QUEENS, THE MOST DIVERSE COUNTY IN THE COUNTRY. THE QUEENS MUSEUM IS TRULY BOROUGH-WIDE IN ITS REACH AND SCOPE. THROUGH YEAR-ROUND IN-SCHOOL AND OUT-OF SCHOOL PROGRAMS, AND A RANGE OF COLLABORATIONS, OUR EDUCATION PROGRAMS OCCUR AT OUR MUSEUM AND ALSO FROM ONE END OF QUEENS TO THE OTHER, FROM ASTORIA TO JAMAICA TO THE ROCKAWAYS. 1. AFTER-SCHOOL PROGRAMS: QMA COLLABORATES WITH SCHOOLS AND COMMUNITY ORGANIZATIONS TO PROVIDE CUSTOMIZED ARTS-BASED AFTER-SCHOOL PROGRAMS IN SCHOOLS, COMMUNITY SETTINGS AND AT THE MUSEUM. IN 2013 ALONE, MORE THAN 300 NEW YORK CITY STUDENTS AND THEIR PARENTS PARTICIPATED IN QMA AFTER-SCHOOL PROGRAMS AND EVENTS. 2. ARTACCESS: A NATIONALLY RECOGNIZED MODEL OF ART EDUCATION FOR CHILDREN AND ADULTS WITH PHYSICAL, DEVELOPMENTAL, AND EMOTIONAL DISABILITIES. ARTACCESS PROVIDES ARTMAKING CLASSES AND WEEKEND WORKSHOPS TO OVER 5,500 PARTICIPANTS ANNUALLY. OF NOTE ARE A SERIES OF COMMUNITY-BASED ACTIVITIES AND SERVICES FOR FAMILIES WITH CHILDREN ON THE AUTISM SPECTRUM OFFERED AT BOTH QMA AND QUEENS LIBRARY SITES IN QMA'S SERVICE COMMUNITIES.3. FAMILY PROGRAMS: OUR FAMILY PROGRAMS REACH OVER 3,000 ADULTS AND CHILDREN ANNUALLY THROUGH A SERIES OF FREE WEEKLY DROP-IN ART WORKSHOPS AND TOURS FOR CHILDREN AGES FIVE THROUGH 12 AND THEIR ADULT COMPANIONS. OUR RENOWNED SECOND SUNDAYS FOR FAMILIES FEATURES TOURS, ARTMAKING, AND PERFORMANCES FOR VISITORS OF ALL AGES. 4. NEW NEW YORKERS: THIS IS A GROUND-BREAKING PARTNERSHIP WITH THE QUEENS PUBLIC LIBRARY OFFERS 30 FREE, EIGHT-WEEK FREE, MULTI-SESSION, MULTILINGUAL ARTS, TECHNOLOGY, LITERACY AND SKILL-BUILDING COURSES TO OVER 500 ADULT NEW YORK CITY IMMIGRANTS ANNUALLY. WORKSHOPS TAKE PLACE AT THE MUSEUM, AND IN LIBRARY BRANCHES AND COMMUNITY SPACES ACROSS QUEENS. 5. PROFESSIONAL DEVELOPMENT: QMA EDUCATION PROVIDES CUSTOMIZED PROFESSIONAL DEVELOPMENT PROGRAMS TO A WIDE RANGE OF EDUCATORS, ARTISTS, THERAPISTS, LIBRARIANS, AND ADMINISTRATORS.6. QUEENS TEENS: A NATIONAL AWARD-WINNING YOUTH DEVELOPMENT AND LEADERSHIP PROGRAM THAT IMMERSES DIVERSE YOUTH IN THE QMA'S PROGRAMS AND OPERATIONS. THROUGH INTENSIVE MENTORING AND ARTS EXPERIENCES AND EMPLOYMENT, QUEENS TEENS ARE PREPARED FOR COLLEGE AND CAREERS AFTER HIGH SCHOOL. 7. SCHOOL PROGRAMS: OUR POPULAR SCHOOL PROGRAMS REACH MORE THAN 25,000 K-12 STUDENTS EVERY AFTER YEAR THROUGH DAILY SCHOOL TOURS AND LONG-TERM SCHOOL PARTNERSHIP AND RESIDENCY PROGRAMS.8. SENIOR PROGRAMS: A SERIES OF FREE PROGRAMS THAT PROVIDE OPPORTUNITIES FOR SENIORS TO WORK WITH ART IN MYRIAD WAYS. 301914 PUBLIC EVENTSOVER THE PAST EIGHT YEARS, QMA HAS BECOME KNOWN AS A LEADER IN PRODUCING CULTURAL PROGRAMMING FOR NON-TRADITIONAL MUSEUM-GOING AUDIENCES AND FOR OPENING OUR DOORS TO PROGRAMS ORGANIZED BY OUR COMMUNITY PARTNERS. QMA'S PUBLIC EVENTS DEPARTMENT HAS THREE COMMUNITY ORGANIZERS ON STAFF AND PRESENTS MORE THAN 75 EVENTS AND SERIES ANNUALLY ROOTED IN CELEBRATING THE INCREDIBLE ETHNIC DIVERSITY OF THE BOROUGH OF QUEENS, INTEGRATING WITH CURATORIAL AND EDUCATIONAL PROGRAMMING , AND PROVIDING A PLATFORM FOR ARTISTIC EXPRESSION IN VARIOUS MEDIA INCLUDING MUSIC, DANCE, FILM AND SPOKEN WORD. PUBLIC EVENTS PROGRAMS INCLUDE:1. CORONA STUDIOCORONA STUDIO IS A LONG-TERM MULTIFACETED COMMUNITY ENGAGEMENT PROJECT THAT INTERTWINES THE ARTS WITH COMMUNITY BUILDING, AND IS PERHAPS THE MUSEUM'S CLEAREST EXAMPLE OF COMMUNITY ENGAGEMENT. THIS PROGRAM SUPPORTS PARTICIPANTS' WORK OUTSIDE OF THE MUSEUM WALLS IN THE LOCAL QUEENS COMMUNITY. BUILT ON THE IDEA THAT THE MUSEUM CAN HAVE A TANGIBLE IMPACT BY ENGAGING OUR LOCAL COMMUNITY OF CORONA, QUEENS, THE PROJECT'S CORE VALUES ARE: LISTENING TO AND PROMOTING THE LOCAL VOICE, INTEGRATING ARTISTS INTO THE COMMUNITY, AND CREATING POSITIVE CHANGE. THE PROGRAM IS DEDICATED TO SELECTING ARTISTS WHO DESIRE TO USE ART FOR SOCIAL CHANGE, AND PROVIDING THEM WITH THE HELP NEEDED TO REALIZE THEIR OBJECTIVES. THE LONG-TERM GOAL IS TO IMPROVE THE QUALITY OF LIFE FOR RESIDENTS OF CORONA AND TO CREATE A MODEL FOR SOCIAL ENGAGEMENT THAT CAN BE ADAPTED TO THE SPECIFIC CONTEXTS OF OTHER MUSEUMS. IMMIGRANT MOVEMENT INTERNATIONAL, CONCEIVED OF AND DIRECTED BY ARTIST TANIA BRUGUERA, IS A MULTIYEAR CORONA STUDIO SOCIAL ART PROJECT THAT TAKES THE FORM OF A COMMUNITY CENTER, IMMIGRATION THINK-TANK, AND LIVING PERFORMANCE, WITH ITS STOREFRONT ON ROOSEVELT AVENUE PROVIDING A PLATFORM FOR OTHER ACTIVITIES. WHAT BEGAN AS THE PURSUIT TO DEFINE THE IMMIGRANT AS A UNIQUE, NEW GLOBAL CITIZEN IN A POST-NATIONAL WORLD HAS EVOLVED TO INCLUDE SOCIAL SERVICE OFFERINGS RANGING FROM CHILDREN'S ART AND MUSIC INSTRUCTION AND FREE LEGAL ADVICE TO THE CREATION OF A MIGRANT MANIFESTO AND INTERNATIONAL ARTIST COMMEMORATION OF UN INTERNATIONAL MIGRANTS DAY ON DECEMBER 18. CORONA PLAZA: A SERIES OF SEASONAL PUBLIC ART INSTALLATIONS IN A ONCE-GRAND BUT NEGLECTED NEIGHBORHOOD MEETING PLACE HAS TRANSFORMED INTO AN ADVOCACY EFFORT TO TRANSFORM THE PLAZA FROM A PARKING LOT INTO A VIBRANT MULTI-USE PUBLIC SPACE. THROUGH THE EFFORTS OF THE MUSEUM AND ITS PARTNERS, THE SPACE WAS RE-LAUNCHED AS A PUBLIC PLAZA, WITH A LARGER-SCALE CAPITAL IMPROVEMENT SCHEDULED FOR 2014. THE MUSEUM HAS INVITED AN ARCHITECT AND AN URBAN PLANNER TO ASSIST ITS TWO COMMUNITY ORGANIZERS IN KEEPING THE COMMUNITY AT THE TABLE IN AN IMAGINATIVE AND INCLUSIVE MANNER SO THAT THEY WILL BECOME THE STEWARDS AND ACTIVE PROGRAMMERS OF THE SPACE. THROUGHOUT THE PROCESS, THE MUSEUM HAS OFFERED FREE CULTURAL AND SOCIAL SERVICE PROGRAMMING IN THE PLAZA RANGING FROM PERFORMANCE ART, CHILDRENS ART-MAKING, DANCE AND MUSICAL PRESENTATIONS TO HEALTH SCREENINGS, VOTER REGISTRATION, AND PLAZA DESIGN WORKSHOPS.SOCIAL PRACTICE QUEENS IS THE FIRST MASTERS OF FINE ARTS (MFA) PROGRAM IN SOCIAL PRACTICE ART ON THE EAST COAST. IN PARTNERSHIP WITH QUEENS COLLEGE, SOCIAL PRACTICE QUEENS FOCUSES ON SOCIAL INTERVENTION THROUGH ART WITH STUDENTS GAINING ACCESS TO BOTH THE QUEENS MUSEUM'S ARTISTIC AND EDUCATIONAL PROGRAMS AND QUEENS COLLEGE'S DIVERSE COURSES IN URBAN STUDIES, SOCIOLOGY, HISTORY, AND LAW, ETC. THIS PILOT PROGRAM INTEGRATES TRADITIONAL MFA STUDIO PRACTICES WITH SOCIAL INTERVENTIONIST ART FORMS, AND SOCIAL DESIGN STRATEGIES DIRECTLY RELATED TO THE QUEENS MUSEUM'S ONGOING COMMUNITY PROGRAMMING. 2. PASSPORT FRIDAYS: OUR EIGHT-WEEK OUTDOOR FILM, DANCE, AND MUSIC SERIES UNDER THE STARS IN FLUSHING MEADOWS CORONA PARK. THE WEEKLY SUMMER FESTIVITIES OFFER LIVE PERFORMANCES FROM LOCAL MUSICIANS AND QMA'S IN-HOUSE DANCE RESIDENCY PROGRAM FEATURING SOME OF THE MOST TALENTED CONTEMPORARY DANCE COMPANIES IN OUR BOROUGH. WITH ATTENDANCE REACHING UPWARDS OF 600+ PEOPLE PER EVENT, PASSPORT FRIDAYS IS QMAS MOST VISIBLE AND MOST WIDELY ATTENDED PUBLIC PROGRAMMING SERIES EACH YEAR. 3. CULTURAL CELEBRATIONS: ANNUAL PROGRAMS OFFERED BY THE PUBLIC EVENTS DEPARTMENT INCLUDE HOLIDAY AND SEASONAL EVENTS SUCH AS: CHINESE LUNAR NEW YEAR CELEBRATIONS; DAY OF THE DEAD CELEBRATION; CINEMAROSA, THE ONLY GAY FILM FESTIVAL IN QUEENS; FATAL LOVE, THE MUSEUM'S ANNUAL CELEBRATION OF PAKISTANI AND INDIAN INDEPENDENCE DAYS. QMA ALSO PRESENTS COMPLIMENTARY PROGRAMMING IN THE PARK FOR SUMMER FESTIVALS, INCLUDING ECUADORIAN, PERUVIAN, AND COLOMBIAN FESTIVALS THAT ATTRACT HUNDREDS OF THOUSANDS OF VISITORS. 4. EXHIBITION-RELATED PROGRAMMING: OUR EXHIBITION-RELATED PROGRAMMING ALLOWS VISITORS A DYNAMIC RANGE OF FILM SCREENINGS, POETRY READINGS, MUSICAL EXPERIENCES, AND PUBLIC DIALOGUES TO PROVIDE A POINT OF ENTRY FOR UNDERSTANDING EXHIBITIONS. 399293 PUBLIC INFORMATIONMARKETING AND PUBLIC RELATIONS EFFORTS ACCOMPANY EVERY PROGRAM AND THE QMA IS REGULARLY FEATURED IN LOCAL, NATIONAL AND INTERNATIONAL PRINT, RADIO AND TELEVISION MEDIA. IN ADDITION, QMA ADVERTISES IN LOCAL PAPERS, THROUGH PRINTED MEDIA, ON-LINE AND THROUGH A MEDIA SPONSORSHIP WITH WNYC RADIO. THE QUEENS MUSEUM HAS AN ACTIVE ON-LINE AND SOCIAL MEDIA PRESENCE. OUR WEB SITE WWW.QUEENSMUSEUM.ORG OFFERS A COMPREHENSIVE PRESENTATION OF OUR PROGRAMS AND ACTIVITIES AND INCLUDES A PROGRAM CALENDAR, EXHIBITION DESCRIPTIONS, CONTACT INFORMATION, ETC. AND A LINK TO OUR QUEENSMUSE BLOG (HTTP://WWW.QUEENSMUSEUM.ORG/BLOG/). OUR WEB SITE ALSO INCLUDES LINKS TO VARIOUS SOCIAL MEDIA OUTLETS. THE MUSEUM'S FACEBOOK PAGE WWW.FACEBOOK.COM/QUEENSMUSEUM (11,012 FANS), TWITTER FEED WWW.TWITTER.COM/QUEENSMUSEUM (46,834 FOLLOWERS) YOUTUBE, FLICKR, FOURSQUARE AND OTHER SOCIAL MEDIA SITES ATTRACT A LARGE ON-LINE PRESENCE AND GENERATE DIALOGUE WITH COMMUNITIES THROUGHOUT THE WEB. ONE OF OUR MOST POPULAR CONVERSATIONS INCLUDE #EDUTUES WHERE THE MUSEUM HOSTS A TWITTER CONVERSATION ON VARYING SUBJECTS RELATED TO MUSEUM EDUCATION. 399293 3310083 1 1 0 0 0 0 0 1 0 1 1 0 0 0 0 1 1 0 0 0 0 0 0 0 1 0 0 0 1 1 0 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1 82 0 94 1 0 0 0 0 0 1 1 0 0 0 0 X 24 24 0 0 1 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 NY X X JULIE LOU DIRECTOR OF FINANCE 7185929700 FLUSHING MEADOWS CORONA PARK QUEENS NY 113683398 ALAN SUNA 2.00 X X 0 0 0 PETER MEYER 6.00 X X 0 0 0 ANDREW KIRBY 1.00 X X 0 0 0 MURRAY TARNAPOLL 0.50 X X 0 0 0 ANDREW LEVINE 2.00 X X 0 0 0 ALINA CAMACHO-GINGERICH 0.50 X 0 0 0 CHRISTINE CIAMPA 0.50 X 0 0 0 DANIEL COHEN 0.50 X 0 0 0 GRETCHEN WERWAISS 0.50 X 0 0 0 SIGMUND R BALKA 1.50 X 0 0 0 MARC KRAMER 0.50 X 0 0 0 VICTORIA SCHNEPS-YUNIS 2.00 X 0 0 0 MARGARETTE LEE 1.00 X 0 0 0 AMY D'AMATO 1.50 X 0 0 0 JACQUIE HEMMERDINGER 1.50 X 0 0 0 SHAILJA KOUFAKIS 1.00 X 0 0 0 HARVEY ROSS 0.50 X 0 0 0 WENDY CAI-LEE 0.50 X 0 0 0 MAGGIE HOAG 0.50 X 0 0 0 THERESA KELLY 0.50 X 0 0 0 SETH KUPFERBERG 0.50 X 0 0 0 ELLIOT PARK 0.50 X 0 0 0 DIEGO SALAZAR 0.50 X 0 0 0 ROBERT WANN 0.50 X 0 0 0 TOM FINKELPEARL 40.00 X 156832 0 17044 JULIE LOU 40.00 X 65639 0 24404 222471 0 41448 1 0 1 0 0 1879 114200 12473199 1818659 27591 14407937 ADMISSIONS & WORKSHOPS 900099 196198 196198 196198 5500 5500 564 564 5690 0 5690 5690 5690 27591 27565 26 26 26 149169 114200 84270 64899 64899 55522 28857 26665 26665 CAFE SALES 722210 12988 12988 OTHER 900099 284 284 13272 14720751 222863 0 89951 19402 19402 270221 183750 56746 29725 1556094 1066221 326103 163770 125933 86313 26390 13230 240565 164752 50421 25392 170857 116956 35815 18086 12600 7975 4460 165 244196 103402 134154 6640 83663 83663 217637 169596 39135 8906 19007 16893 1951 163 1279 827 375 77 49031 44320 4446 265 13186 8528 3860 798 1312535 1116204 164953 31378 35014 9311 25453 250 EQUIPMENT MAINTENANCE 162779 109593 22115 31071 HONORARIA 3565 2256 1262 47 EXHIBITION FEES 121 121 4537685 3310083 897639 329963 990353 697697 1151950 1454425 723959 1034730 37963 28370 30382 29874 37052310 7141347 20024947 29910963 149440 152801 23108994 33308860 261396 274925 26550 29821 287946 304746 X 728413 747753 21549596 31713322 543039 543039 22821048 33004114 23108994 33308860 10183066 0 X X 0 1 X 1 0 X 2914837 6287306 10162667 10887943 14407937 44660690 2914837 6287306 10162667 10887943 14407937 44660690 44660690 38640 15517 51283 35599 11754 152793 21546 36315 6111 8018 13272 85262 44898745 1678940 0.99470 0.98580 X SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: CAFE SALES - 2010 AMOUNT: $ 4,122. 2011 AMOUNT: $ 6,525. 2012 AMOUNT: $ 12,988. HONORARIA - 2010 AMOUNT: $ 1,268. 2011 AMOUNT: $ 1,493. OTHER - 2008 AMOUNT: $ 21,546. 2009 AMOUNT: $ 36,315. 2010 AMOUNT: $ 721. 2012 AMOUNT: $ 284. RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED X X X X X PROVIDE ONGOING EDUCATION 0 544742 17 544759 544843 40 -141 544742 371299 175000 44 -1500 544843 249779 120000 1520 371299 172552 76000 1227 249779 0.99680 0.00320 0 0 36855114 6964465 29890649 191539 176882 14657 5657 5657 29910963 X 14872007 122399 28857 151256 14720751 0 14720751 4688941 122399 28857 151256 4537685 0 4537685 PART III, LINE 1A: IN CONFORMITY WITH PRACTICES FOLLOWED BY MANY MUSEUMS, ART OBJECTS PURCHASED OR DONATED ARE NOT CAPITALIZED. THE MUSEUM'S ART COLLECTION CONSISTS PRIMARILY OF AMERICAN CONTEMPORARY PAINTINGS, WORKS ON PAPER, PHOTOGRAPHS AND WORLD'S FAIR ARTIFACTS. THE MUSEUM CARRIED INSURANCE COVERAGE IN AMOUNTS EQUAL TO THE ESTIMATED VALUE OF THE COLLECTION AS WELL AS SUFFICIENT COVERAGE FOR COLLECTIONS ON LOAN. IT IS THE POLICY OF THE MUSEUM TO HOLD ITS COLLECTIONS FOR PUBLIC EXHIBITION, EDUCATION, OR RESEARCH IN FURTHERANCE OF PUBLIC SERVICE, RATHER THAN FINANCIAL GAIN. ANY PROCEEDS FROM THE SALE OF COLLECTION ITEMS ARE USED TO ACQUIRE OTHER ITEMS FOR COLLECTIONS. PART III, LINE 4: THE QMA COLLECTION CONSISTS OF THREE PARTS: 1. THE 1939-40 AND 1964-65 NEW YORK WORLD'S FAIR ARCHIVES (MEMORABILIA AND GRAPHICS). THIS INCLUDES THE PANORAMA OF THE CITY OF NEW YORK, A 9,335 SQUARE FOOT ARCHITECTURAL MODEL THAT REPRESENTS EVERY BUILDING IN NEW YORK CONSTRUCTED BEFORE 1992 AT A SCALE OF 1:1200 (ONE INCH = 100 FEET). BUILT BY ROBERT MOSES FOR THE 1964 WORLD'S FAIR, IN PART AS A CELEBRATION OF THE CITY'S MUNICIPAL INFRASTRUCTURE IN ALL FIVE BOROUGHS, IT INCLUDES A TOTAL OF 895,000 INDIVIDUAL STRUCTURES. IN ADDITION TO THE INDIVIDUAL DONATIONS MADE BY NUMEROUS DONORS OF SOUVENIRS, FURNITURE, PHOTOGRAPHS AND DOCUMENTS, WE RECEIVED THREE SIGNIFICANT COLLECTIONS OF SOUVENIRS AND MEMORABILIA - EACH TOTALING BETWEEN 75 AND 125 ITEMS. IN ADDITION, WE RECEIVED A GIFT OF A "NEUROLOGICAL MODEL" FABRICATED BY THE DONOR'S FATHER, AND EXHIBITED AT THE BELGIAN PAVILION IN THE 1964 FAIR. 12 DIGITAL PRINTS FROM ARCHIVAL NEGATIVES BY PHOTOGRAPHER LUIS MARQUEZ WERE DONATED AND ILLUMINATE THE MEXICAN PRESENCE AT THE FAIR IN 1940. 2. THE NEUSTADT COLLECTION OF TIFFANY GLASS (ON LONG-TERM LOAN. INCLUDES LAMPS AND WINDOWS AS WELL AS UNUSED GLASS FROM THE WORKSHOP, FORMERLY LOCATED IN CORONA, QUEENS.) 3. WORKS OF ART AS FOLLOWS: A. COLLECTIONS OF ART RELATED TO THE WORLD'S FAIRS, SUCH AS AN IN-DEPTH COLLECTION RELATING TO SALVADOR DALI'S DREAM OF VENUS (AMUSEMENT ZONE, 1939-40) AND PHOTOGRAPHS BY WELL-KNOWN PHOTOGRAPHERS SELECTED FOR THE FAIR BY MUSEUM DIRECTORS ACROSS THE U.S., GATHERED UNDER THE NAME PHOTOGRAPHY AS FINE ART (KODAK PAVILION, 1964-65). B. A COLLECTION OF OVER 2,000 PHOTOGRAPHS DONATED OVER 30 YEARS BY COLLECTOR AND PHOTOGRAPHER CHARLES SCHWARTZ, INCLUDING EXTRAORDINARY EXAMPLES OF DOCUMENTARY, PHOTOJOURNALISTIC, AND ART PHOTOGRAPHY CREATED BETWEEN 1860S - 1960S BY PHOTOGRAPHERS SUCH AS ABBOTT, SMITH, STIEGLITZ, LANGE, HALSMAN, ATGET AND OTHERS. C. 300+ ORIGINAL DRAWINGS, ETCHINGS AND LITHOGRAPHS BY EMIGRE ILLUSTRATOR, SOCIAL SATIRIST AND LONG-TERM QUEENS RESIDENT WILLIAM SHARP (1900-1961) WHOSE REALIST DEPICTIONS OF CURRENT EVENTS AND DAILY LIFE ENTERTAINED AND INFORMED A GENERATIONS OF READERS OF ESQUIRE, LIFE, NEW YORK DAILY NEWS, PM, COLLIER'S, THE NEW YORK POST AND THE NEW YORK TIMES. D. CUBAN PAINTER EMILIO SANCHEZ (1921- 1999), WHO SPENT STUDENT DAYS & MATURE CAREER IN NYC, IS REPRESENTED BY 25 WORKS VIVIDLY DEPICTING HIS NATIVE CUBA AS WELL AS THE URBAN CONSTRUCTIVIST ENVIRONMENT. E. APPROXIMATELY 200 WORKS OF CONTEMPORARY CONCEPTUALLY-BASED ART IN ALL MEDIA, OFTEN SPECIALLY COMMISSIONED FOR EXHIBITIONS AT THE MUSEUM. HIGHLIGHTS INCLUDE LOUISE LAWLER'S PHOTOGRAPHS OF THE MUSEUM'S FORMER COLLECTION OF CLASSICAL PLASTER CASTS (THREE, OBJECTS AND STORAGE, 1984); THE RESULTS OF AN ARCHAEOLOGICAL DIG BY MARK DION (THE GREAT ASH DUMP DIG, FLUSHING MEADOWS PARK, 2001), NILS NORMAN'S LIBRARY-ON-A-BICYCLE (THE GERARD WINSTANLEY RADICAL GARDENING SPACE MOBILE FIELD CENTER AND WEATHER STATION, 1999); DULCE PINZON'S PHOTOGRAPHS (WONDER WOMAN, 2006) ANDREW MOORE'S PHOTOGRAPHIC SERIES ON CITY POOLS BUILT BY ROBERT MOSES (20 INKJET PRINTS, 2005); SEHER SHAH'S ARCHITECTURALLY-INFLUENCED ABSTRACTIONS (BLACK CUBE STUDY #14 AND #15, 2007); 16 OF SHAUN EL C. LEONARDO'S PERFORMANCE PHOTOGRAPHS (EL CONQUISTADOR VS. THE INVISIBLE MAN, 2004-2006), ANTHONY AUERBACH'S TRANSPARENCIES AND DIGITAL PRINT (EMPEROR PANORAMA AND THE STATE OF NEW YORK, 2007 AND 2006), PEDRO MEYER'S PHOTOGRAPHS (PEDRO MEYER'S HERESIES, 2008), DUKE RILEY'S LASER ENGRAVING AND DRYPOINT PRINT ON HANDMADE PAPER (MORITURI TE SALUTANT, 2009), AMONG MANY OTHERS. IN 2011 -2013, WE RECEIVED 18 FRANK O. LARSON DIGITAL PRINTS FROM ARCHIVAL NEGATIVES OF 1950S NEW YORK CITY STREET PHOTOGRAPHY. THE METROPOLITAN MUSEUM OF ART DONATED MICHELANGELO'S ORIGINAL PLASTER CAST OF THE PIETA TO OUR COLLECTION - ON LONG TERM LOAN TO THE MUSEUM SINCE 1975. A PURCHASE FOR THE COLLECTION INCLUDES COCO FUSCO'S VIDEO, THE COUPLE IN THE CAGE: GUATIANAUI ODYSSEY. A PARTIAL DONATION/PURCHASE WAS MADE FOR ANDREW MOORE'S PHOTOGRAPH, COOPER SCHOOL, DETROIT. DESCRIPTION OF INTENDED USE OF ENDOWMENT FUNDS: PART V, LINE 4: THE MUSEUM HAS ESTABLISHED AN ENDOWMENT FUND WHICH CONSISTS OF DONOR RESTRICTED GIFT AND CONTRIBUTIONS. THE MUSEUM APPROPRIATES FOR EXPENDITURE OR ACCUMULATION AS IS PRIDENT FOR THE USES, BENEFITS, PURPOSES AND DURATION FOR WHICH THE ENDOWMENT FUND IS ESTABLISHED, SUBJECT TO THE INTEND OF THE DONOR AS EXPRESSED IN THE GIFT INSTRUMENT. CURRENTLY, EXPENDITURES FROM THE ENDOWMENT FUNDS ARE USED TO SUPPORT OPERATIONAL PURPOSES AS NEEDED. DESCRIPTION OF UNCERTAIN TAX POSITIONS UNDER FIN 48: PART X, LINE 2: THE MUSEUM RECOGNIZES THE EFFECT OF INCOME TAX POSITIONS ONLY IF THOSE POSITIONS ARE MORE LIKELY THAN NOT OF BEING SUSTAINED. MANAGEMENT HAS DETERMINED THAT THE MUSEUM HAD NO UNCERTAIN TAX POSITIONS THAT WOULD REQUIRE FINANCIAL STATEMENT RECOGNITION. THE MUSEUM IS NO LONGER SUBJECT TO AUDITS BY THE APPLICABLE TAXING JURISDICTIONS FOR PERIODS PRIOR TO 2009. PART XI, LINE 2D - OTHER ADJUSTMENTS: COST OF GOODS SOLD 28,857. PART XII, LINE 2D - OTHER ADJUSTMENTS: COST OF GOODS SOLD 28,857. QMA ANNUAL GALA 263369 114200 149169 5363 50065 5447 23395 263369 114200 149169 5363 50065 5447 23395 84270 64899 1 STIPENDS FOR TEEN DOCENT PROGRAM 18 18742 STIPENDS FOR STAFF 3 660 PROCEDURE FOR MONITORING GRANTS IN THE U.S.: PART I, LINE 2: SCHEDULE I, PART I, LINE 2: TEEN DOCENTS INITIALLY COME TO QMA THROUGH A GENERAL APPLICATION PROCESS WHICH IS THEN FOLLOWED BY A GROUP INTERVIEW WITH THEIR FELLOW PEERS ALREADY IN THE PROGRAM. PARTICIPANTS ARE NOT ELIGIBLE TO EARN A STIPEND UNTIL AFTER THEY HAVE ATTENDED A FULL SEMESTER OF THE AFTER-SCHOOL COMPONENT OF THE PROGRAM, AND THEN THEY MUST ALSO SUCCESSFULLY COMPLETE A FOUR WEEK TRAINING PROGRAM MENTORED BY THEIR ELDER PEERS. ONCE STUDENTS HAVE SHOWN THAT THEY ARE CAPABLE OF REPRESENTING THE MUSEUM AS A TEEN DOCENT THEY ARE FINALLY INVITED TO EARN A STIPEND BY ASSISTING WITH VARIOUS PROGRAMS IN THE MUSEUM SUCH AS THE SUNDAY DROP-IN FAMILY WORKSHOP. OPPORTUNITIES ARE DISTRIBUTED AMONGST STUDENTS IN A BALANCED FASHION, CONSISTENT WITH THE DOCENTS PERFORMANCE IN THEIR DUTIES. THIS PROCESS AND ASSOCIATED RECORDKEEPING IS OVERSEEN BY THE MANAGER OF FAMILY AND AFTER SCHOOL PROGRAMS IN THE MUSEUM'S EDUCATION DEPARTMENT. SCHEDULE I, PART III, LINE 2: STIPENDS FOR STAFF ARE TRAVEL AND MEAL STIPENDS GIVEN TO SPECIFIC STAFF FOR SPONSORED PROJECT. X X X 0 0 0 0 0 0 0 0 0 TOM FINKELPEARL 156832 0 0 0 0 0 16423 0 621 0 173876 0 0 0 X 1 0 X 2 27591 FMV 0 0 0 METHOD FOR DETERMINING NUMBER OF CONTRIBUTIONS: PART I, COLUMN (B): THE ORGANIZATION IS REPORTING THE NUMBER OF CONTRIBUTIONS RECEIVED IN ACCORDANCE WITH THE ORGANIZATION'S RECORDKEEPING ACTIVITIES. A ZERO AMOUNT WAS REPORTED ON FORM 990, PART VIII, LINE 1G BECAUSE THE MUSEUM DOES NOT CAPITALIZE ITS COLLECTIONS AS ALLOWED UNDER SFAS 116. FORM 990, PART VI, SECTION A, LINE 4 BY-LAWS REVISIONS: - ARTICLE II SECTION 7 THAT STATES, "A TRUSTEE MAY BE SUSPENDED OR REMOVED FOR CAUSE, INCLUDING FOR FAILURE TO ATTEND THREE (3) CONSECUTIVE BOARD MEETINGS WITHOUT EXCUSE ACCEPTABLE TO THE TRUSTEES, AT ANY REGULAR OR SPECIAL MEETING OF THE BOARD." WILL BE CHANGED TO: A TRUSTEE MAY BE SUSPENDED OR REMOVED FOR CAUSE, INCLUDING FOR FAILURE TO ATTEND THREE (3) CONSECUTIVE BOARD MEETINGS WITHOUT EXCUSE ACCEPTABLE TO THE TRUSTEES, AT ANY REGULAR OR SPECIAL MEETING OF THE BOARD. SAID TRUSTEE SHALL BE NOTIFIED IN WRITING NOT LESS THAN TWO (2) WEEKS PRIOR TO THE MEETING IN WHICH ACTION IS TO BE TAKEN. SAID TRUSTEE IS ENTITLED TO BE HEARD BY THE BOARD BEFORE FINAL DETERMINATION IS MADE. A THREE-FOURTHS (3/4) VOTE OF TRUSTEES PRESENT (PROVIDED A QUORUM IS PRESENT) IS REQUIRED FOR REMOVAL OF A TRUSTEE FROM OFFICE. - ARTICLE III, SECTION 1 (AND THROUGHOUT) TITLES: THE PRESIDENT OF THE BOARD WILL BE CALLED, CHAIRMAN OF THE BOARD, THE VICE PRESIDENT OF THE BOARD WILL BE CALLED, VICE CHAIRMAN, AND THE EXECUTIVE DIRECTOR OF THE ORGANIZATION WILL BE CALLED, PRESIDENT AND EXECUTIVE DIRECTOR. THESE TITLE CHANGES WILL NOT TAKE EFFECT IMMEDIATELY, BUT SOME TIME DURING THE FISCAL YEAR. - ARTICLE III, SECTION 2, NUMBER: THE NUMBER OF ALLOWABLE SEATS WILL BE INCREASED FROM 25 TO 35. - ARTICLE III, SECTION 3, TERMS OF OFFICE: TERM LIMITS WILL BE ELIMINATED. TERMS OF OFFICE WILL NO LONGER BE LIMITED TO 4 CONSECUTIVE TERMS (3 YEARS/TERM). - ARTICLE V, SECTION 1, EXECUTIVE COMMITTEE: IN ADDITION TO BOARD OFFICERS, UP TO FIVE INDIVIDUALS WILL BE ASKED TO JOIN THE EXECUTIVE COMMITTEE. IN THE FUTURE, COMMITTEE CHAIRS WILL BE ASKED TO REPORT ON THEIR ACTIVITIES AT THE BOARD MEETINGS AND WILL NOT BE REQUIRED TO ATTEND BOTH EXECUTIVE COMMITTEE AND BOARD MEETINGS. - APPENDIX C, TRUSTEE GIVING POLICY: UPDATES INCLUDE AN INCREASE IN BOARD DUES FOR INDIVIDUALS AND CORPORATIONS AND AN ACTIVE "GET POLICY". AS OUTLINED BELOW TRUSTEE GIVING POLICY - THE ANNUAL PLEDGE OF MONEY IS AN INDIVIDUAL DECISION AND COMMITMENT MADE BY EACH TRUSTEE, WHETHER FROM PERSONAL OR CORPORATE FUNDS. THE MINIMUM ANNUAL CONTRIBUTION REQUIRED OF EACH TRUSTEE IS $3,500 FOR AN INDIVIDUAL AND $10,000 FOR A CORPORATE REPRESENTATIVE. - IN ADDITION TO THE ANNUAL PLEDGE, EACH TRUSTEE IS ALSO REQUIRED TO SUPPORT EVENTS, PROGRAMS OR OTHER INITIATIVES OF THE CORPORATION IN THE AMOUNT OF $1,500 FOR AN INDIVIDUAL AND $5,000 FOR A CORPORATE REPRESENTATIVE. THIS SUPPORT CAN BE IN THE FORM OF PERSONAL OR CORPORATE FUNDS CONTRIBUTED DIRECTLY BY THE TRUSTEE OR CONTRIBUTIONS SOLICITED BY THE TRUSTEE FROM THIRD PARTIES. - FOR THOSE TRUSTEES OR TRUSTEE CANDIDATES UNABLE TO MEET THIS ANNUAL CONTRIBUTION, THE EXECUTIVE COMMITTEE IN DISCUSSION WITH THE PRESIDENT/ED MAY AGREE TO WAIVE THE STATED REQUIREMENTS IN FAVOR OF AN IN-KIND DONATION. FORM 990, PART VI, SECTION B, LINE 11 THE FINANCE COMMITTEE OF THE BOARD OF TRUSTEES SHALL RECEIVE A PAPER COPY OF THE FORM 990 TO REVIEW AND APPROVE. THE FORM 990, AS APPROVED BY THE FINANCE COMMITTEE, WILL BE FORWARDED ELECTRONICALLY TO THE FULL BOARD OF TRUSTEES FOR REVIEW AND COMMENT BEFORE IT IS FILED. FORM 990, PART VI, SECTION B, LINE 12C TRUSTEES MUST DISCLOSE THE TRANSACTION WHICH LIKELY AMOUNTS TO AN ACTUAL OR POTENTIAL CONFLICT OF INTEREST TO THE BOARD AND EXECUTIVE COMMITTEE, AND ABSTAIN FROM ANY DISCUSSION ABOUT THE POTENTIAL TRANSACTION. THE TRUSTEE MUST RECUSE THEMSELVES FROM ANY VOTING RELATED TO THE TRANSACTION. THE EXECUTIVE COMMITTEE WILL DETERMINE WHETHER THE QUEENS MUSEUM OF ART CAN OBTAIN A TRANSACTION THAT IS EQUALLY OR MORE ADVANTAGEOUS TO THE MUSEUM FROM A PERSON OR ENTITY WITHOUT A CONFLICT OF INTEREST. IF THE QUEENS MUSEUM OF ART CANNOT REASONABLY DO SO (OBTAIN AN EQUALLY OR MORE ADVANTAGEOUS TRANSACTION FROM A NONINTERESTED PARTY), THE BOARD MAY APPROVE THE TRANSACTION BY A MAJORITY VOTE OF THE DISINTERESTED TRUSTEES AND THE EXECUTIVE DIRECTOR. A QUORUM MUST BE PRESENT, MEANING A MAJORITY OF ALL TRUSTEES. THE INTERESTED TRUSTEE MAY BE COUNTED IN DETERMINING THE PRESENCE OF A QUORUM BUT NOT IN DETERMINING A MAJORITY VOTE TO AUTHORIZE THE TRANSACTION. THE QUEENS MUSEUM OF ART MUST DISCLOSE THE TRANSACTION AND THE VOTING DETAILS IN ITS MINUTES. THIS INCLUDES THE NAMES OF THE PERSONS PRESENT FOR DISCUSSION AND VOTING, THE CONTENT OF THE DISCUSSION, INCLUDING ANY ALTERNATIVES TO THE DISCUSSION, AND A RECORD OF ANY VOTES TAKEN. THE MUSEUM DOCUMENTS THE PROCESS IT UNDERTOOK TO VERIFY THAT THE TRANSACTION IS FAIR. TRUSTEES ARE REQUIRED TO DISCLOSE THIS INTEREST IN WRITING ON THE ANNUAL ACKNOWLEDGEMENT OF CODE OF ETHICS AND CONFLICTS OF INTEREST QUESTIONNAIRE. FORM 990, PART VI, SECTION B, LINE 15 COMPENSATION IS PART OF THE ANNUAL BUDGET PROCESS WHICH IS VETTED THROUGH THE FINANCE COMMITTEE AND APPROVED BY THE BOARD OF TRUSTEES. AS A PART OF THIS PROCESS, COMPENSATION DECISIONS ARE MADE FOR ALL MUSEUM STAFF, INCLUDING THE EXECUTIVE DIRECTOR AND THE DIRECTOR OF FINANCE. THE COMMITTEE USES COMPARABLE DATA FROM FUNCTIONALLY COMPARABLE POSITIONS AT SIMILAR ORGANIZATIONS TO FRAME COMPENSATION DECISIONS. DOCUMENTATION OF DELIBERATIONS AND DECISIONS MADE REGARDING COMPENSATION ARE ENTERED INTO COMMITTEE AND BOARD MINUTES AND KEPT ON FILE BY THE ORGANIZATION. THIS PROCESS MOST RECENTLY OCCURRED IN MAY 2011 FOR THE 7/1/11 - 6/30/12 FISCAL YEAR OPERATING BUDGET. FORM 990, PART VI, SECTION C, LINE 19 QUEENS MUSEUM OF ARTS' FORM 990 IS AVAILABLE FOR PUBLIC INSPECTION AS REQUIRED UNDER SECTION 6104 OF THE INTERNAL REVENUE CODE AS IT IS POSTED ON GUIDESTAR.ORG AND OTHER SIMILAR TYPES OF WEBSITES. IN ADDITION, FORMS 990 AND 1023 AS WELL AS THE FINANCIAL STATEMENTS, CONFLICTS OF INTEREST POLICY, ARTICLES OF INCORPORATION AND BY-LAWS ARE AVAILABLE UPON WRITTEN REQUEST AT NEW YORK CITY BUILDING, FLUSHING MEADOWS CORONA PARK, QUEENS, NY 11368-3398 OR BY CALLING THE ORGANIZATION DIRECTLY AT (718) 592-9700. OVERSIGHT OF AUDIT AND SELECTION OF INDEPENDENT ACCOUNTANT FORM 990, PART XI, LINE 2C: THE MUSEUM HAS A COMMITTEE THAT IS RESPONSIBLE FOR OVERSIGHT OF THE AUDIT OF ITS FINANCIAL STATEMENTS AND SELECTION OF AN INDEPENDENT ACCOUNTANT. THIS PROCESS HAS NOT CHANGED FROM THE PREVIOUS YEAR.