Queens Museum of Art New York City Building
Public records show a registered, tax-exempt organization in good standing.
What it says it does
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.
- Income
- $7.8 million
- Spending
- $6.4 million
- Spent on programs
- 61%
- Reserves
- -1.8 months of spending
- Largest source of income
- government grants, 67%
- Employees
- 99
- Volunteers
- 20
- Highest pay
- $344,781, executive director
Source: Form 990 for the year ending June 30, 2025, filed with the Internal Revenue Service. Rating method 2026.2. How we rate
Financial health
Fair: 58 out of 100. Higher than 30% of charities in its peer group (arts and culture, $1m to $10m).
Reserves
0 of 35Spendable reserves are negative: it owes or has committed more than it holds.
Debt
20 of 20It owes 3% of what it owns.
Living within its means
15 of 15Income exceeded spending by 18% of income.
Income trend
15 of 15Income rose 13% on the year before.
Spending floor
8 of 1561% of spending went to programs and raising each dollar of donations cost 7 cents.
Source: Form 990 for the year ending June 30, 2025, filed with the Internal Revenue Service. Rating method 2026.2. How we rate
Governance
Strong: 100 out of 100. Higher than 65% of charities in its peer group (arts and culture, $1m to $10m).
Independent board
25 of 2521 of 21 voting board members are independent.
Conflict of interest policy
15 of 15Has a written conflict of interest policy.
Whistleblower policy
8 of 8Has a written whistleblower policy.
Record keeping policy
7 of 7Has a written policy on keeping and destroying records.
Board minutes
5 of 5Keeps minutes of board meetings.
Board sees the tax return
10 of 10Gave the board a copy of this return before filing it.
Pay set independently
5 of 5Sets its chief executive's pay through independent review and comparison.
Independent check of accounts
15 of 15Its accounts were audited by an independent accountant.
No reported misuse
10 of 10Reports no diversion of assets, excess benefits or loans to insiders.
Source: Form 990 for the year ending June 30, 2025, filed with the Internal Revenue Service. Rating method 2026.2. How we rate
Impact evidence
Describes programs. Its tax return describes what it does but we have found no measurable results in it.
Programs described in its return (3)
- $3.0 million spent. 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 M
- $746,452 spent. 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.
- $214,573 spent. 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.
Source: Form 990 for the year ending June 30, 2025, filed with the Internal Revenue Service. Rating method 2026.2. How we rate
Legitimacy checks
Is it registered with the IRS? Passed.
Listed in the IRS master file of tax-exempt organizations as a 501(c)(3) charitable organization.
Source: Exempt Organizations Business Master File, Internal Revenue Service, file dated October 13, 2026.
Has the IRS revoked its tax-exempt status? Passed.
Not on the IRS automatic revocation list.
Source: Automatic revocation of exemption list, Internal Revenue Service, file dated October 13, 2026.
Are donations tax-deductible? Passed.
On the IRS list of organizations eligible to receive tax-deductible contributions.
Source: Publication 78 data: organizations eligible for tax-deductible contributions, Internal Revenue Service, file dated October 13, 2026.
Is it keeping up with its IRS filings? Passed.
Most recent return on file covers the year ending June 2025.
Source: Exempt Organizations Business Master File, Internal Revenue Service, file dated October 13, 2026.
How long has it been tax-exempt? Passed.
Recognized by the IRS since August 1972.
Source: Exempt Organizations Business Master File, Internal Revenue Service, file dated October 13, 2026.
Is it in good standing with state regulators? Passed.
Not on California's list of charities barred from soliciting. Other states are not yet checked.
Source: May Not Operate or Solicit for Charitable Purposes list, California Attorney General, Registry of Charities and Fundraisers, file dated October 21, 2026.
Ratings and checks are our reading of public records, using the published method. They are not a statement about anyone's honesty. If you work for this organization, you can send corrections or results, confirm you want gifts through Veridonate, or ask to be removed from giving.