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Consider it the second Harlem renaissance. On Manhattan's 125th Street, where a sculpture of civil rights leader Adam Clayton Powell Jr stride onwards and upwards, the area is filled with energy and excitement.

A Community in Transformation

The famous Apollo Theatre is in the middle of major renovations. Another cultural institution is preparing to move into an $80 million cultural center spanning a city block. Additionally, another organization recently opened a $250M building containing its main offices, affordable housing and commercial areas.

“This building says to the world: Harlem matters; Black art matters; Black institutions matter,” stated the chairman of the governing board. “It will stand as a lighthouse on this historic street, a place where creativity and community meet.”

Historical Roots

This institution was founded by artists, advocates, philanthropists and community members to address the systemic exclusion of African American artists from established museums. Its debut in a leased space above an liquor store in the late 1960s, a traumatic year of assassinations, uprisings and societal transformation.

“This moment feels what it must have felt like when it all began,” reflected a institutional representative. “The institution emerged in a time of change. Nation was split. Citizens were protesting. Artists were demanding to be recognized.”

Building Design

The new $160 million facility covers 82,000 square feet across seven levels. Designed by architectural firms, the museum constitutes the first purpose-built space for the institution and nearly doubles its exhibition and programme space.

The building includes galleries, an large entrance hall, adaptable event areas, a specialized learning studio, a cafe and shop, plus a open-air deck with panoramic city views. A monumental stair, finished with terrazzo, fills the main atrium space.

Collection Highlights

The opening exhibition schedule showcases the museum's past, present and future with several key shows. A particular display features the first institutional career survey of pioneering artist Tom Lloyd, whose electronic light sculptures appeared in the institution's first show.

• William T Williams's 1969 abstract musical tribute pays homage to jazz legend
• Kerry James Marshall's iconic work confronts lack of representation and Black representation
• Jean-Michel Basquiat's Bayou features vigorous marks and mixed media elements
• Faith Ringgold's initial narrative textile captures her neighborhood in both joyful and elegiac tones

Broader Impact

The institution's opening feels especially meaningful during a time when diversity initiatives, museums and the way African American history is told face increased scrutiny. New York has recently elected a mayor who personifies the city's cultural diversity, and this neighborhood has a special ability for making cultural revival resemble resistance.

“Harlem has always been evolving,” observed a senior leader. “It's a district that has been evolving since it was established. But this area has also been a community where Black culture has thrived.”

The museum celebrates its significant artist-in-residence programme with an former residents exhibition including prominent figures such as Kehinde Wiley, Mickalene Thomas and conceptual painter. The display combines recently created works with historical pieces spanning various periods.

Continuing Mission

Among recent acquisitions are sound-based works and sculptural pieces. Metal containers created by artist Houston Conwill contain private statements by seven distinguished Black Americans, originally interred in the institution's outdoor space in the mid-1980s and now on display with plans to be opened in September 2034.

Visitors can explore an historical display of images and memorabilia documenting the institution's journey through its shows, events and programmes over nearly six decades. This extensive legacy includes notable occasions ranging from royal visits to community performances that together illustrate the museum's lasting influence.