2026-05-11T17:31:36-05:00 2025-06-30 331374517 PKF O'CONNOR DAVIES ADVISORY LLC 245 PARK AVENUE 12TH FLOOR NEW YORK NY 10167 990 2024-07-01 112278998 QUEENS MUSEUM OF ART QUEE 7185929700 NYC BLDGFLUSHING MEADOWS CORONAPAR QUEENS NY 11368 SALLY TALLANT EXECUTIVE DIRECTOR 7185929700 2026-05-11 1 1 EVA MRUK P00543254 2122862600 2024 2025-03-06 01:10:19Z QUEENS MUSEUM SALLY TALLANT NYC BLDGFLUSHING MEADOWS CORONAPARK QUEENS NY 11368 8357647 0 X WWW.QUEENSMUSEUM.ORG X 1972 NY THE QUEENS MUSEUM FEATURES EXHIBITIONS AND PROGRAMS THAT RANGE FROM HISTORICAL TO CONTEMPORARY, FOCUS ON MATERIAL CULTURE TO SOCIAL JUSTICE, AND INCLUDE SITE-SPECIFIC TEMPORARY COMMISSIONS RELEVANT TO LOCAL AND GLOBAL ISSUES. IN FY25, THE MUSEUM HAS SEEN CONTINUED GROWTH IN OUR EXHIBITIONS, EDUCATION AND PUBLIC PROGRAMS FOR STUDENTS, SENIORS, COMMUNITY MEMBERS, AND ARTISTS. 21 21 99 20 0 0 6816298 7449736 134295 234137 2938 3525 -73395 105946 6880136 7793344 25000 18000 0 0 4595749 3555457 0 0 532216 2569438 2804541 7190187 6377998 -310051 1415346 36556929 36805508 2183461 1011054 34373468 35794454 X THE QUEENS MUSEUM 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 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 2951816 0 174573 EXHIBITIONS AND PROGRAMSQM OFFERS A FULL SUITE OF ARTS EDUCATION OFFERINGS FAMILY PROGRAMS ON WEEKENDS, SCHOOL VISITS THROUGHOUT THE WEEK, AND IN AND AFTER-SCHOOL RESIDENCIES WITH LOCAL PUBLIC SCHOOLS. QUEENS TEENS INSTITUTE FOR ART AND SOCIAL JUSTICE (QTI) LEVERAGES QM RESOURCES TO NURTURE THOUGHTFUL, INDEPENDENT YOUNG ARTISTS AND THE NEXT GENERATION OF LEADERS IN THE ARTS AND SOCIAL CHANGE. LONG ADMIRED BY OUR PEERS, QM IS A MODEL FOR EXCELLENCE IN EDUCATION AND PUBLIC PROGRAMMING INITIATIVES SUCH AS WELL-ESTABLISHED AND RESPECTED ARTACCESS EDUCATIONAL PROGRAMMING, INCLUDING OPEN STUDIOS GUIDED TOURS AND WORKSHOPS, DROP-IN FAMILY PROGRAMMING AND SUMMER CAMPS, AS WELL AS INITIATIVES LIKE THE IN SITU ARTIST FELLOWSHIPS AND THE INDIGENOUS PRACTICES STUDIO.OUR EDUCATION PROGRAMMING ALSO SERVES ADULTS, THROUGH OUR NEW NEW YORKERS PROGRAM OFFERS FREE MULTILINGUAL CLASSES TO SUPPORT THE NEEDS OF ADULT IMMIGRANT COMMUNITIES IN QUEENS AS WELL AS OUR CREATIVE AGING WORKSHOPS SERVING OLDER ADULTS. THE MUSEUM ALSO WELCOMES COMMUNITY MEMBERS FOR CULTURAL CELEBRATIONS. OUR LARGEST EVENTS THIS YEAR INCLUDED DIA DES LOS MUERTOS AND LUNAR NEW YEAR.FY25 EXHIBITIONSABANG-GUARDIN MAKIBAKA, ARTIST DUO ABANG-GUARD (MAUREEN CATBAGAN + JEVIJOE VITUG) CONTENDS WITH VISIBILITY THROUGH THE LENS OF IMMIGRATION AND LABOR IN THEIR MULTIDISCIPLINARY PRACTICE. FOR THEIR FIRST MUSEUM SOLO EXHIBITION, ABANG-GUARD RECONFIGURES THE ICONIC ARCHITECTURE OF THE 19641965 NEW YORK WORLD'S FAIR'S PHILIPPINES AND NEW YORK STATE PAVILIONS AS A SCAFFOLD TO STRUCTURE THEIR INVESTIGATION INTO THE LAYERED SIGNIFICANCE OF THE YEAR 1965 IN FILIPINO AMERICAN LABOR HISTORY. ABANG-GUARD TAKES STOCK OF HOW THESE NARRATIVES HAVE BEEN LIVED, REMEMBERED, ERASED, AND FOUGHT FOR. MAKIBAKA, ROUGHLY TRANSLATED FROM TAGALOG AS "COMING TOGETHER FOR CHANGE," IS A RALLYING CRY USED BY FILIPINO MOVEMENTS AND COMMUNITIES IN FIGHTING AGAINST EXPLOITATIVE SYSTEMS. THE SPIRIT OF MAKIBAKA IS WOVEN INTO ABANG-GUARD'S PAINTINGS, SCULPTURES, PERFORMANCES, AND VIDEOS THAT PAY HOMAGE TO SIGNIFICANT FILIPINO AMERICAN SITES.CAMERON GRANGERIN 9999, CAMERON A. GRANGER USES THE FRAMEWORK OF VIDEO GAMES AND MAGIC TO IMAGINE AN ALTERNATIVE METHOD OF LIBERATION FOR BLACK COMMUNITIES FROM THE COMPOUNDING EFFECTS OF RACIST URBAN PLANNING. IN EARLY ROLE PLAYING VIDEO GAMES, DUE TO LOW COMPUTER PROCESSING CAPACITY, 9,999 WAS THE NUMERICAL DAMAGE LIMIT DONE TO A CHARACTER THAT COULD BE REGISTERED ON SCREEN. YET SOMETIMES, ADDITIONAL DAMAGE CONTINUED TO ACCRUE OFF-SCREEN INCAPACITATING, YET UNSEEN. GRANGER TAKES THIS CONCEPT OF THE CONCEALED YET RELENTLESS HARM, AND APPLIES IT TO THE CUMULATIVE CORROSION OF SEGREGATIVE DESIGN, ENVIRONMENTAL RACISM, AND GENTRIFICATION.LYLE ASHTON HARRISDRAWING TOGETHER PHOTOGRAPHS AND INSTALLATIONS FROM BOTH HIS CELEBRATED AND LESSER-KNOWN SERIES, LYLE ASHTON HARRIS: OUR FIRST AND LAST LOVE CHARTS NEW CONNECTIONS ACROSS THE ARTISTIC PRACTICE OF LYLE ASHTON HARRIS (B. 1965, BRONX, NY). THE EXHIBITION EXPLORES HARRIS'S CRITICAL EXAMINATION OF IDENTITY AND SELF-PORTRAITURE WHILE TRACING CENTRAL THEMES AND FORMAL APPROACHES IN HIS WORK OF THE LAST 35 YEARS.CAS HOLMANEXPLORING THE INTERSECTION OF ART MAKING AND PLAY, CAS HOLMAN DESIGNS INNOVATIVE TOYS AND TOOLS THAT INSPIRE PARTICIPATORY IMAGINATION. PROTOTYPING PLAY EXPERIMENTS WITH THE DIFFERENT MODES OF INTUITIVE AND CHILD-DIRECTED FREE PLAY IN AN ART MUSEUM ENVIRONMENT BY EXTENDING THE BODY'S MOVEMENTS WITH UNIQUELY CRAFTED ELEMENTS AND PROMPTS. RELEASED IN TWO PHASES, HOLMAN'S OPEN-ENDED PLAYTHINGS AND PLAYSPACES FOSTER COLLABORATION, INVENTIVE THINKING, AND INTERACTIVITY. PROTOTYPING PLAY INVITES ARTISTS OF ALL AGES TO CREATE, EXCHANGE, COOPERATE, AND LEAVE YOUR MARK THROUGH THESE NEW DEVICES.CAROLINE KENTA SHORT PLAY ABOUT WATCHING SHADOWS MOVE ACROSS THE ROOM (DECEMBER 6, 2023 - DECEMBER 29, 2024) THE CHICAGO-BASED ARTIST'S WORK REINVENTS ABSTRACTION THROUGH EXPLORATIONS OF GEOMETRY, COLOR, AND PATTERN THAT UNFOLD INTO GRAND INSTALLATIONS THAT BLUR LANGUAGE, PAINTING AND SCULPTURE. THE MONUMENTAL INSTALLATION WILL SPAN A 40 X 100-FOOT WALL WHERE PAINTED IMAGES AND HIGH-RELIEF SCULPTURES MERGE INTO SCENES THAT BOTH BREAK INTERPRETATION AND UNDERSCORE ITS TENSIONS. USING AN ALL BLACK BACKGROUND AS HER BASE, THE ARTIST BRINGS TOGETHER "SHADOW SHAPES," IMPROVISED FIGURES AND HAND-PAINTED FLOOR PLANS TO CONSTRUCT DOMESTIC SPACES - DEPICTING ROOMS, GRIDS, AND PLANT LIFE.NSENGA KNIGHTCLOSE TO HOME IS AN INSTALLATION THAT HONORS THE DOMESTIC SPACE AS A CUSTODIAN OF CULTURAL AND SPIRITUAL TRADITIONS BY PROVIDING SUPPORT AND COMFORT TO FORGE APPRECIATION FOR HERITAGE AND THEIR CONTINUITY. MODELED AFTER NSENGA KNIGHT'S FAMILY RESIDENCES FROM THEIR PAST SIX YEARS LIVING IN CAIRO, EGYPT, THE INSTALLATION'S ECLECTIC ATMOSPHERE REFLECTS THE HISTORIC AND COSMOPOLITAN. WHILE FURNISHED IN VARIOUS MATERIALS AND STYLES, OLD AND NEW, THIS FAMILY HOME IS ALSO ADORNED WITH ARTIFACTS FROM THE 1964-1965 NEW YORK WORLD'S FAIR AS WELL AS ARTWORKS BY KNIGHT, INCLUDING PAINTINGS, PRINTS, VIDEOS, AND WALLPAPER.UMBER MAJEEDJOY TECH USES SPECULATIVE FICTION TO OFFER A COUNTER-NARRATIVE OF THE PAKISTAN PAVILION AT THE 19641965 NEW YORK WORLD'S FAIR. MAJEED'S MULTIMEDIA WORKS LOOK AT THE HISTORY OF THE PAVILION THROUGH THE PERSPECTIVE OF THE SOUTH ASIAN DIASPORA, HER ONGOING TRANS-PAKISTAN PROJECT, AND THE VISUAL CULTURE OF PHONE REPAIR SHOPS IN JACKSON HEIGHTS, QUEENS. THE EXHIBITION INCORPORATES AN AUGMENTED REALITY EXPERIENCE, INSTALLATION, VIDEO, DRAWINGS, AND CERAMICS THAT EMPLOY THE LANGUAGE OF THE BOOTLEG OR COUNTERFEIT AS A MODE OF WORLDBUILDING. THE EXHIBITION INCLUDES REFERENCES TO THE PAKISTAN PAVILION'S ARCHITECTURE, DISPLAYS, GOODS FOR SALE, AND OTHER FRAGMENTS OF THE PAVILION THAT CIRCULATE ONLINE. MAJEED EXPLORES HISTORIES THAT ARE IN A CONSTANT STATE OF REDEFINITION, BLURRING THE LINES BETWEEN WHAT MAY BE CONSIDERED OFFICIAL OR UNAUTHORIZED, AUTHENTIC OR PROPAGANDA, LEGIBLE OR OPAQUE.CATALINA SCHLIEBENER MUOZIN BUENOS VECINOS, WHICH TRANSLATES TO "GOOD NEIGHBORS," CATALINA SCHLIEBENER MUOZ CONFRONTS THE IMPACT OF TWO WALT DISNEY ANIMATED FILMS: SALUDOS AMIGOS (1942) AND LOS TRES CABALLEROS (1944). BOTH FILMS EMERGED FROM DISNEY'S STATE-SPONSORED RESEARCH TRIPS TO SOUTH AND CENTRAL AMERICAN NATIONS AS PART OF THE GOOD NEIGHBOR POLICY, WHICH SOUGHT TO DISCOURAGE NAZI INFLUENCE AND IMPROVE THE UNITED STATES' PUBLIC IMAGE IN LATIN AMERICA FOLLOWING ITS NUMEROUS MILITARY INVASIONS THROUGHOUT THE EARLY 20TH CENTURY. DISNEY AND HIS TEAM OF ARTISTS TOURED ARGENTINA, BRAZIL, BOLIVIA, CHILE, PERU, AND MEXICO TO GENERATE VISUAL MOTIFS AND STORYLINES FOR RECOGNIZABLE CHARACTERS LIKE DONALD DUCK AND GOOFY, AS WELL TO CREATE NEW CHARACTERS, SONGS, AND DANCES BASED ON LOCAL CUSTOMS AND ARCHETYPES.A BILLION DOLLAR DREAM: THE 1964-1965 NEW YORK WORLD'S FAIR ON ITS 60TH ANNIVERSARYMARKING THE SIXTY-YEAR ANNIVERSARY OF THE 19641965 NEW YORK WORLD'S FAIR (NYWF), A BILLION DOLLAR DREAM REVISITS THE FAIR THROUGH AN ENVIRONMENTAL, SOCIAL, AND POLITICAL LENS. THIS EXHIBITION TAKES A FRESH LOOK AT THE FAIR'S LEGACY AND IMPACT ON AMERICAN CULTURE BY PLACING MATERIALS FROM THE QUEENS MUSEUM'S COLLECTION IN DIALOGUE WITH THE CONTEXT OF CONCURRENT DOMESTIC ISSUES, INTERNATIONAL POLITICS, AND CULTURAL EVENTS. IN ADVERTISING THE FAIR TO POTENTIAL INVESTORS, ROBERT MOSES, PRESIDENT OF THE NYWF CORPORATION, CALLED IT A "MAGNIFICENT SPECTACLE, SIGNIFICANT MARKETPLACE." THE FAIR DELIVERED ON THIS PROMISE. THROUGH DAZZLING DEMONSTRATIONS AND PRINTED MATERIALS, EXHIBITORS VIGOROUSLY PROMOTED CAR CULTURE, THE EVOLUTION OF LABOR, AND AMERICAN INTERVENTIONISM. THIS EXHIBITION REASSESSES THE WAYS IN WHICH IDEAS OF "PROGRESS," NATIONHOOD, AND REPRESENTATION WERE ADVERTISED AND DISTRIBUTED BY EXAMINING ARCHIVAL PHOTOGRAPHS, DOCUMENTS, POSTCARDS, POSTERS, UNIFORMS, AND OTHER EPHEMERA. TOGETHER THESE OBJECTS REVEAL THAT THE FAIR WAS NOT NEUTRAL GROUND, FLUCTUATING BETWEEN THE PROMISE OF A TECHNO-UTOPIA AND "THE GOOD OLD DAYS." BY CONSIDERING THE IMPACT OF THE FAIR AS BOTH A MARKET-DRIVEN AND SOCIO-CULTURAL PROPAGANDISTIC TOOL, THIS SHOW REFRAMES THE IMPACT OF THE FAIR BY PLACING ITS OFTEN-DISCUSSED IMAGINATIVE INNOVATION WITHIN A LARGER HISTORICAL FRAMEWORK. 746452 18000 59564 EDUCATIONQUEENS MUSEUM OFFERED A ROBUST RANGE OF EDUCATION PROGRAMS FOR INDIVIDUALS. OUR SCHOOL PROGRAMS CONSIST OF IN-SCHOOL RESIDENCIES, AFTER SCHOOL PROGRAMS, AND SCHOOL TOURS. THESE PROGRAMS ARE HIGHLY ADAPTABLE AND CAN EMPHASIZE ARTS OBJECTIVES, BE INCORPORATED INTO PROJECT-BASED OR SERVICE LEARNING PROJECTS, AND CAN REACH STUDENTS BROADLY OR TARGET SPECIFIC GROUPS. ALL SCHOOL PROGRAMS PROVIDE OPEN AND WELCOME SPACES THAT ENCOURAGE CREATIVITY, INQUIRY, AND COLLABORATION THROUGH HANDS-ON INSTRUCTION AND INTERACTION. CREATIVE AGING WORKSHOPS FOR SENIORS, A SERIES OF FOUR WORKSHOPS THROUGHOUT THE YEAR, COMPRISE 10 SESSIONS ONCE PER WEEK OF ARTISTIC CREATION, WITH EACH WORKSHOP FEATURING A DIFFERENT TYPE OF ARTISTIC MEDIUM, SUCH AS CREATIVE JEWELRY MAKING, PRINTMAKING, AND PORTRAITURE. IN ADDITION TO REDUCING SOCIAL ISOLATION AND IMPROVING MOTOR SKILLS, THESE WORKSHOPS CELEBRATE THE UNIQUE ROLES OF SENIORS IN THE FAMILY AND AS ACTIVE CONTRIBUTORS TO A BROADER SOCIAL FABRIC. THE WORKSHOPS CULMINATE IN A FINAL PRESENTATION WHERE PARTICIPANTS CAN SHARE THEIR WORKS WITH FAMILY AND FRIENDS. QUEENS MUSEUM ALSO CONDUCTS SENIOR WORKSHOPS THROUGH NEW YORK CITY'S SU-CASA PROGRAM. THESE WORKSHOPS ARE STRUCTURED SIMILARLY TO THE ARTISTRY IN BLOOM WORKSHOPS, WITH 7-9 SESSIONS OF ARTMAKING AND ONE FINAL PRESENTATION. IN 2024-25, WE SERVED HUNDREDS OF OLDER ADULTS THROUGH WATERCOLOR PAINTING, ACRYLIC PAINTING, AND BASKETRY SU-CASA PROGRAMS, AND WE EXPECT TO SERVE A SIMILAR NUMBER THIS YEAR.THE QUEENS TEENS INSTITUTE FOR ART AND SOCIAL JUSTICE (QTI) WAS DEVELOPED OUT OF OUR ORIGINAL QUEENS TEENS PROGRAM AND IN RESPONSE TO THE TEENS EXPERIENCING LOSS, RACISM, AND XENOPHOBIA DURING THE HEIGHT OF THE COVID-19 PANDEMIC. TEENS EXPRESSED AN INTEREST IN BECOMING CATALYSTS FOR CHANGE, AND THE QTI WAS DEVELOPED WITH THEIR INPUT TO NURTURE AND DEVELOP THE NEXT GENERATION OF LEADERS IN THE ARTS AND SOCIETY AT LARGE. BETWEEN 20 - 25 HIGH SCHOOL JUNIORS AND SENIORS JOIN A LEADERSHIP COHORT AT QM FROM NOVEMBER TO JUNE TO PARTICIPATE IN WEEKLY WORKSHOPS ONSITE AT THE MUSEUM OR VIRTUALLY, AND ARE PROVIDED WITH A $1,000 STIPEND AND MONTHLY METROCARD TO HELP OFFSET TRAVEL COSTS. THE TEENS DEVELOP THE THEME AND GOALS OF THE PROGRAM IN RESPONSE TO A SOCIAL JUSTICE ISSUE THEY FIND MOST PRESSING WHILE LEARNING TANGIBLE LIFE SKILLS, INCLUDING TIME MANAGEMENT, PROJECT DEVELOPMENT AND IMPLEMENTATION, AND COLLABORATION. THE PROGRAM CULMINATES IN AN ART EXHIBITION AND RECEPTION AT QM THAT CELEBRATES THEIR WORK AND ACCOMPLISHMENTS.INTERPRETATION AT QMQM HAS MADE GREAT STRIDES IN BECOMING AN INSTITUTION THAT IS MORE ACCESSIBLE TO PEOPLE WITH DISABILITIES. WE HAVE PARTNERED WITH BLOOMBERG PHILANTHROPIES TO INCLUDE QM ON THE BLOOMBERG CONNECTS APP, WHICH HAS ALLOWED US TO PROVIDE TYPED DESCRIPTIONS OF OUR PERMANENT EXHIBITIONS, AND TYPED AND AUDIO DESCRIPTIONS OF OUR TEMPORARY EXHIBITIONS. AS PART OF OUR EXHIBITION EMILIE LOUISE GOSSIAUX: OTHER-WORLDING (12.6.23 - 4.7.24), WE OFFERED TWO TOUCH TOURS FOR LOW VISION AND BLIND PARTICIPANTS, WHICH EXPLORED HOW THE AESTHETICS OF TOUCH, VISUAL ART, LANGUAGE, AND CARE ARE INTERCONNECTED THROUGH THE CREATIVE EXCHANGE OF DESCRIPTION. THESE TOURS WERE EXTREMELY POPULAR, AND WE HAVE CONTINUED TOUCH TOURS AND ADDED AMERICAN SIGN LANGUAGE TOURS FOR EACH EXHIBITION SINCE THE CLOSURE OF EMILIE'S EXHIBITION. ADDITIONALLY, WE HAVE INSTALLED GUIDELINES ON THE MUSEUM'S FIRST FLOOR TO ASSIST OUR BLIND AND LOW VISION VISITORS WITH NAVIGATION. 214573 0 5800 PUBLIC PROGRAMS AND COMMUNITY ENGAGEMENTQM CONDUCTS FAMILY WORKSHOPS ON A DROP-IN BASIS ONE WEEKEND PER MONTH, SATURDAY AND SUNDAY FROM 12-3 PM. ACTIVITIES OFFER FAMILIES THE OPPORTUNITY TO REFLECT ON THE ARTWORKS PRESENTED IN OUR EXHIBITIONS AS THEY WORK COLLABORATIVELY TO CREATE UNIQUE WORKS OF THEIR OWN USING A VARIETY OF MATERIALS UNDER THE GUIDANCE OF SKILLED TEACHING ARTISTS. NO PRIOR REGISTRATION IS REQUIRED, AND FAMILIES CAN ARRIVE AND DEPART ANYTIME BETWEEN 12 AND 3 PM. THESE WORKSHOPS ACCOMMODATE DIVERSE LEARNERS, AND ARE ACCESSIBLE TO FAMILIES WHO HAVE CHILDREN WITH SPECIAL NEEDS AND ENGLISH LANGUAGE LEARNERS.ARTACCESS, WHICH BEGAN IN 1983 AS PLEASE TOUCH TO PROVIDE ART EDUCATION FOR THE VISUALLY IMPAIRED, HAS GROWN INTO A NATIONAL REPLICATED MODEL PROGRAM. ANCHORING ARTACCESS IS OUR OPEN STUDIOS PROGRAM, WORKSHOPS DESIGNED FOR INDIVIDUALS WITH DISABILITIES THAT ARE HELD ONSITE AT THE MUSEUM ONCE PER MONTH. SPECIALLY TRAINED TEACHING ARTISTS ENCOURAGE PARTICIPANTS TO EXPRESS THEMSELVES WHILE EXPERIMENTING WITH NEW AND VARIED MATERIALS. WORKSHOPS ARE HELD ONSITE AT THE MUSEUM ON THE FIRST SATURDAY AND SUNDAY OF EACH MONTH, WITH ONE WORKSHOP FOR PARTICIPANTS AGES 8-12 AND ONE WORKSHOP FOR PARTICIPANTS AGES 13 AND UP. THE GOAL OF ARTACCESS IS TO CREATE OPPORTUNITIES FOR PEOPLE WITH DISABILITIES TO EXPRESS THEMSELVES CREATIVELY, DEVELOP NEW SKILLS, AND ENGAGE WITH THE MUSEUM, OUR STAFF, AND THE VARIED PROGRAMMING WE PRODUCE. IN FY25, WE SERVED 366 INDIVIDUALS WITH OPEN STUDIOS. 3912841 1 1 0 1 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 0 0 0 0 0 0 0 0 0 1 103 0 99 1 0 0 0 0 0 1 1 0 0 0 0 0 0 X 21 21 0 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 1 0 NY X X SALLY TALLANT EXECUTIVE DIRECTOR 7185929700 FLUSHING MEADOWS CORONA PARK QUEENS NY 113683398 PAULA KIRBY CHAIR 2.00 X X 0 0 0 YVONNE RILEY-TEPIE VICE CHAIR 2.00 X X 0 0 0 AMY D'AMATO SECRETARY 1.00 X X 0 0 0 CHRISTINA GEFFRARD TREASURER 1.00 X X 0 0 0 ANGELO BAQUE TRUSTEE 1.00 X 0 0 0 SAM CHARNEY TRUSTEE 1.00 X 0 0 0 THOMAS CHEN TRUSTEE, THRU MAY 2025 1.00 X 0 0 0 MING CHIANG TRUSTEE 1.00 X 0 0 0 CHRISTINE CIAMPA TRUSTEE 1.00 X 0 0 0 PATSY DOERR TRUSTEE 1.00 X 0 0 0 DOMINIQUE GOSS TRUSTEE 1.00 X 0 0 0 ARTHI KRISHNAMOORTHY TRUSTEE 1.00 X 0 0 0 SETH KUPFERBERG TRUSTEE 1.00 X 0 0 0 LORRAINE CHAMBERS LEWIS TRUSTEE 1.00 X 0 0 0 HANNA MILLER TRUSTEE 1.00 X 0 0 0 ANWARII MUSA TRUSTEE 1.00 X 0 0 0 JIM PALADINO TRUSTEE 1.00 X 0 0 0 BEVIN SAVAGE-YAMAZAKI TRUSTEE 1.00 X 0 0 0 DENISE SCOTT TRUSTEE 1.00 X 0 0 0 ALAN SUNA TRUSTEE 1.00 X 0 0 0 PETER WARWICK TRUSTEE 1.00 X 0 0 0 GRETCHEN WERWAISS TRUSTEE 1.00 X 0 0 0 SALLY TALLANT EXECUTIVE DIRECTOR 40.00 X 297330 0 47451 DEBRA WIMPFHEIMER DEPUTY DIRECTOR 40.00 X 162088 0 22375 KIMAADA LEGENDRE DIRECTOR EDUCATION AND COMMUNITY ENGAGEMENT 40.00 X 104386 0 34363 563804 0 104189 3 0 1 0 0 20051 404416 5219468 1805801 7449736 ADMISSIONS & WORKSHOPS 713990 234137 234137 234137 87856 87856 1681 1681 323227 173700 149527 149527 149527 166998 251329 -84331 -84331 -84331 86650 404416 139274 -52624 -52624 5800 0 5800 5800 OTHER INCOME 900099 1562 1562 1562 7793344 239937 0 103671 X 18000 18000 503116 434189 56852 12075 2116353 1120232 817087 179034 272584 151528 101360 19696 405512 220746 154730 30036 257892 145892 93763 18237 48674 13117 26963 8594 2030 2030 901431 379043 387566 134822 7413 6635 778 147418 99404 46986 1028 13736 6164 7550 22 79997 16301 63696 20196 6626 13135 435 8710 3769 4933 8 76056 76056 1244090 1130182 82485 31423 16192 3299 12893 HONORARIA 64290 17325 35613 11352 DUES AND PROF. DEVELOP. 56413 40442 8120 7851 EXHIBITION & PROGRAM EX 54568 44512 9488 568 REPAIRS AND MAINTENANCE 42827 34935 7446 446 20500 20500 6377998 3912841 1932941 532216 196807 1861551 1486 2644 1862105 441748 81997 87742 56449747 22579492 33960475 33870255 454059 541568 36556929 36805508 1184461 833299 10000 78804 989000 98951 2183461 1011054 X 31988974 32938352 2384494 2856102 34373468 35794454 36556929 36805508 X 1415346 122640 -117000 X 0 1 X 1 0 X 4588060 6346227 6263534 6816298 7449736 31463855 313662 330130 360942 354275 456576 1815585 4901722 6676357 6624476 7170573 7906312 33279440 1872995 31406445 54413 265466 119002 182972 412764 1034617 44 66 20868 1562 22540 34336597 491122 0.91470 0.90740 X SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: OTHER INCOME - 2020 AMOUNT: $ 44. 2021 AMOUNT: $ 66. 2022 AMOUNT: $ 0. 2023 AMOUNT: $ 20,868. 2024 AMOUNT: $ 1,562. RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 0 0 0 0 0 0 1 2030 2030 0 PART II-B, LINE 1: OTHER LOBBYING ACTIVITIES REPORTED ON LINE 1I REPRESENTS THE PORTION OF MEMBERSHIP DUES PAID BY THE ORGANIZATION TO TRADE OR PROFESSIONAL ASSOCIATIONS ATTRIBUTABLE TO LOBBYING ACTIVITIES. X X X X X PROVIDE ONGOING EDUCATION 0 454359 45600 499959 405478 48881 454359 364744 40734 405478 425615 -60871 364744 342239 83376 425615 0.00000 0.58610 0.41390 0 0 55709686 21960594 33749092 331769 331769 0 408292 287129 121163 33870255 X 8696367 122640 606683 173700 903023 7793344 0 7793344 7275381 606683 290700 897383 6377998 0 6377998 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. NOTABLY, 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. 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.) INSTALLED IN APRIL 2016, THE EXHIBITION, A PASSION FOR TIFFANY LAMPS, HIGHLIGHTS THE EXTRAORDINARY SCOPE OF THE NEUSTADTS' COLLECTION. EXAMPLES OF TIFFANY'S MOST ICONIC LAMPS - THE WISTERIA AND DRAGONFLY - ARE ON VIEW, ALONG WITH UNUSUAL LAMPS PRODUCED IN LIMITED NUMBER, SUCH AS THE POND LILY GLOBE AND PEACOCK HANGING SHADE. ACQUISITIONS ACQUIRED FROM JULY 1, 2024 - JUNE 30, 2025 DIGITAL FOOTAGE OF THE FINLAND PAVILION, 1939 NEW YORK WORLD'S FAIR (DONATED BY DWIGHT SWANSON, JANUARY 2025) PANORAMA OF THE CITY OF NEW YORK, RENOVATION FILMS, 1994 (DONATED BY MICHAEL MISCIONE, JANUARY 2025) CAS HOLMAN, CRITTER PARTY, 2024 (DONATED BY CAS HOLMAN, MARCH 2025) CAS HOLMAN, TRACING PLAY, 2024 (DONATED BY CAS HOLMAN, MARCH 2025) PART V, LINE 4: THE MUSEUM HAS ESTABLISHED AN ENDOWMENT FUND WHICH CONSISTS OF DONOR RESTRICTED GIFTS AND CONTRIBUTIONS. THE MUSEUM APPROPRIATES FOR EXPENDITURE OR ACCUMULATION AS IS PRUDENT FOR THE USES, BENEFITS, PURPOSES AND DURATION FOR WHICH THE ENDOWMENT FUND IS ESTABLISHED, SUBJECT TO THE INTENT OF THE DONOR AS EXPRESSED IN THE GIFT INSTRUMENT. CURRENTLY, EXPENDITURES FROM THE ENDOWMENT FUNDS ARE USED TO SUPPORT OPERATIONAL PURPOSES AS NEEDED. PART X, LINE 2: THE MUSEUM RECOGNIZES THE EFFECT OF INCOME TAX POSITIONS ONLY IF THOSE POSITIONS ARE MORE LIKELY THAN NOT TO BE SUSTAINED. MANAGEMENT HAS DETERMINED THAT THE MUSEUM HAD NO UNCERTAIN TAX POSITIONS THAT WOULD REQUIRE FINANCIAL STATEMENT RECOGNITION OR DISCLOSURE. THE MUSEUM IS NO LONGER SUBJECT TO EXAMINATIONS BY THE APPLICABLE TAXING JURISDICTIONS FOR PERIODS PRIOR TO FISCAL 2022. PART XI, LINE 2D - OTHER ADJUSTMENTS: RENTAL EXPENSES REPORTED ON PART VIII, LINE 6B 173,700. PART XII, LINE 2D - OTHER ADJUSTMENTS: RENTAL EXPENSES REPORTED ON PART VIII, LINE 6B 173,700. WRITE-OFF OF UNCOLLECTIBLE PLEDGES 117,000. SPRING GALA 491066 404416 86650 7164 95435 35300 1375 491066 404416 86650 7164 95435 35300 1375 139274 -52624 1 QUEENS TEENS INSTITUTE STIPENDS 18 18000 PART I, LINE 2: THE GOAL OF THE QUEENS TEENS INSTITUTE FOR ART AND SOCIAL JUSTICE (QTI) IS TO NURTURE THOUGHTFUL, INDEPENDENT ARTISTS AND THE NEXT GENERATION OF LEADERS IN THE ARTS AND SOCIAL CHANGE. QTI PARTICIPANTS WILL DEVELOP SKILLS IN THE AREAS OF ART, SOCIAL JUSTICE AND LEADERSHIP. PARTICIPANTS MUST BE A QUEENS-AFFILIATED JUNIOR OR SENIOR, MUST DEMONSTRATE AN INTEREST IN DEVELOPING LEADERSHIP IN THE ARTS AND SOCIAL JUSTICE WITHIN THE CONTEXT OF AN ART INSTITUTION, AND MUST BE HIGHLY RESPONSIBLE, MOTIVATED, AND PREPARED TO PARTICIPATE AND COMPLETE DEDICATED WORK IN COLLABORATION WITH STAFF. PARTICIPANTS OF THE QTI PROGRAM APPLIED, WERE INTERVIEWED AND WERE SELECTED TO BE A PART OF THE LEADERSHIP COHORT FOR PARTICIPATION IN THE 9-MONTH PROGRAM. THE STIPENDS WERE DISTRIBUTED THROUGH THE FINANCE DEPARTMENT. X X X X 0 0 0 0 0 0 0 0 0 SALLY TALLANT EXECUTIVE DIRECTOR 297330 0 0 0 0 0 9000 0 38451 0 344781 0 0 0 DEBRA WIMPFHEIMER DEPUTY DIRECTOR 162088 0 0 0 0 0 0 0 22375 0 184463 0 0 0 FORM 990, PART VI, SECTION B, LINE 11B THE ORGANIZATION'S FORM 990 IS PREPARED BY AN OUTSIDE ACCOUNTING FIRM, AND THEN REVIEWED BY THE FINANCE COMMITTEE OF THE BOARD OF TRUSTEES. ONCE APPROVED BY THE COMMITTEE, A COMPLETE COPY IS PROVIDED TO ALL MEMBERS OF THE BOARD OF TRUSTEES FOR THEIR REVIEW AND COMMENT PRIOR TO FILING. FORM 990, PART VI, SECTION B, LINE 12C THE MUSEUM HAS A CONFLICT OF INTEREST POLICY WHICH COVERS ALL TRUSTEES, THE EXECUTIVE DIRECTOR, AND ALL STAFF MEMBERS. THIS POLICY REQUIRES THESE INTERESTED PERSONS TO COMPLETE A QUESTIONNAIRE TO ANNUALLY DISCLOSE ANY POTENTIAL CONFLICTS OF INTEREST. POTENTIAL CONFLICTS MUST ALSO BE DISCLOSED TO THE BOARD OF TRUSTEES AS THEY ARISE. THE EXECUTIVE COMMITTEE OF THE BOARD OF TRUSTEES DETERMINES IF A CONFLICT EXISTS, AND DETERMINES IF THE MUSEUM CAN OBTAIN WITH REASONABLE EFFORTS AN EQUALLY OR MORE ADVANTAGEOUS TRANSACTION THAT WOULD NOT GIVE RISE TO AN ACTUAL OR APPARENT CONFLICT. THE INTERESTED PERSON DOES NOT PARTICIPATE IN SUCH DECISIONS. FORM 990, PART VI, SECTION B, LINE 15 COMPENSATION IS PART OF THE ANNUAL BUDGET PROCESS WHICH IS DELIBERATED BY 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. INCLUDED SOURCES OF COMPENSATION DATA USED FOR SETTING EXECUTIVE COMPENSATION INCLUDED SALARY SURVEYS OF LOCAL MUSEUM DIRECTORS, AND FORMS 990 OF OTHER ORGANIZATIONS. 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 2025. 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, THE ORGANIZATIONS FORMS 990, FINANCIAL STATEMENTS, CONFLICT OF INTEREST POLICY, AND BYLAWS ARE AVAILABLE UPON WRITTEN REQUEST TO THE ORGANIZATION AT NEW YORK CITY BUILDING, FLUSHING MEADOWS CORONA PARK, QUEENS, NY 11368-3398 OR BY CALLING THE ORGANIZATION DIRECTLY AT (718) 592-9700. FORM 990, PART IX, LINE 11G AUDIO/VISUAL/PHOTOGRAPHY: PROGRAM SERVICE EXPENSES 18,618. MANAGEMENT AND GENERAL EXPENSES 5,709. FUNDRAISING EXPENSES 2,758. TOTAL EXPENSES 27,085. SERVICE CONTRACTS: PROGRAM SERVICE EXPENSES 192,331. MANAGEMENT AND GENERAL EXPENSES 58,970. FUNDRAISING EXPENSES 28,493. TOTAL EXPENSES 279,794. OTHER CONSULTANTS: PROGRAM SERVICE EXPENSES 155,145. MANAGEMENT AND GENERAL EXPENSES 318,917. FUNDRAISING EXPENSES 101,653. TOTAL EXPENSES 575,715. CATERING AND EVENT SERVICES: PROGRAM SERVICE EXPENSES 12,949. MANAGEMENT AND GENERAL EXPENSES 3,970. FUNDRAISING EXPENSES 1,918. TOTAL EXPENSES 18,837. FORM 990, PART XI, LINE 9: WRITE-OFF OF UNCOLLECTIBLE PLEDGES -117,000.