The Studio Museum in Harlem
Public records show a registered, tax-exempt organization in good standing.
What it says it does
THE STUDIO MUSEUM IN HARLEM IS A CONTEMPORARY ART MUSEUM THAT FOCUSES ON THE WORK OF ARTISTS OF AFRICAN DESCENT - AS WELL AS WORK THAT HAS BEEN INSPIRED AND INFLUENCED BY AFRICAN CULTURE - PAST AND PRESENT; THROUGH ITS EXHIBITIONS, ARTIST-IN-RESIDENCE PROGRAMS, EDUCATION AND PUBLIC PROGRAMMING, PERMANENT COLLECTION AND ARCHIVAL AND RESEARCH FACILITIES. THE STUDIO MUSEUM IN HARLEM IS COMMITTED TO SERVING AS A UNIQUE RESOURCE TO ITS LOCAL COMMUNITY, AND TO NATIONAL AND INTERNATIONAL ARENAS, BY MAKING ART AND EXHIBITIONS CONCRETE AND PERSONAL FOR EACH VIEWER. THE MUSEUM PROVIDES A CONTEXT WITHIN WHICH TO ADDRESS CONTEMPORARY AND HISTORICAL ISSUES, PRESENTED THROUGH ART, CREATED BY ARTISTS OF AFRICAN DESCENT.
- Income
- $61.7 million
- Spending
- $18.9 million
- Spent on programs
- 65%
- Reserves
- -65.7 months of spending
- Largest source of income
- donations and private grants, 64%
- Employees
- 107
- Volunteers
- 31
- Highest pay
- $353,639, director and chief curator
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 26% of charities in its peer group (arts and culture, $10m to $100m).
Reserves
0 of 35Spendable reserves are negative: it owes or has committed more than it holds.
Debt
20 of 20It owes 12% of what it owns.
Living within its means
15 of 15Income exceeded spending by 69% of income.
Income trend
15 of 15Income rose 42% on the year before.
Spending floor
8 of 1565% of spending went to programs and raising each dollar of donations cost 5 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 34% of charities in its peer group (arts and culture, $10m to $100m).
Independent board
25 of 2531 of 31 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 (4)
- $2.5 million spent. CURATORIAL: THROUGH CURATORIAL PROJECTS IN FY25, THE STUDIO MUSEUM PRESENTED EXHIBITIONS THAT EMBODIED OUR COMMITMENT TO CHAMPIONING ARTISTS OF AFRICAN DESCENT AND OFFERED FRESH PERSPECTIVES ON CONTEMPORARY ART FOR OUR COMMUNITIES. THE MUSEUM REMAINS AT THE FOREFRONT OF THE CONTEMPORARY ART WORLD THROUGH ITS DETERMINATION TO SHARE A DIVERSE ARRAY OF ARTISTS' PERSPECTIVES, MEDIA, AND CONTENT. THE STUDIO MUSEUM'S ARTIST-IN-RESIDENCE PROGRAM PROVIDED THREE EMERGING ARTISTS CRITICAL EARLY-CAREER SUPPORT INCLUDING MENTORSHIP FROM MUSEUM STAFF, A STIPEND, AND A CULMINATING EXHIBITION. THROUGH THE EXPANSION OF THE PERMANENT COLLECTION AND ARCHIVAL RESOURCES AVAILABLE ON OUR WEBSITE, CURATORIAL PROJECTS SERVED AS A SPRINGBOARD TO ACTIVATE DIALOGUE BETWEEN CURATORS, ARTISTS, AND LOCAL, NATIONAL, AND INTERNATIONAL AUDIENCES. MUCH OF FY25 WAS SPENT ON PREPARING FOR THE OPENING OF OUR NEW BUILDING IN NOVEMBER 2025. THE CURATORIAL TEAM FINALIZED CHECKLISTS, DIDACTICS, AND PRODUCTION FOR OVER A DOZEN EXHIBITIONS AND PROJECTS AND BEGAN INSTALLATION. THE DEPARTMENT ALSO SENT TWO PUBLICATIONS TO PRINT, THE FIRST COLLECTION HANDBOOK IN FIFTEEN YEARS AND THE FIRST EXHIBITION CATALOGUE FOR THE ARTIST TOM LLOYD AND BEGAN WORKING ON TWO OTHER PUBLICATIONS, ON THE ARTIST MAVIS PUSEY AND ON THE MUSEUM'S HISTORY, BOTH OF WHICH WILL COME OUT IN FY27. FROM MAY TO OCTOBER 2024, THROUGH OUR MULTI-YEAR PARTNERSHIP WITH THE MUSEUM OF MODERN ART, WE PRESENTED PROJECTS: TADSKI, WHICH FEATURED THE ARTIST'S EXPANSIVE UNBOUND BOOK, AVE PRETA MISTICA / MYSTICAL BLACK BIRD (2022), IN DIALOGUE WITH A MONUMENTAL WALL DRAWING AND A SET OF SCULPTURES MADE IN RESPONSE TO THE GALLERY SPACE. PASS CARRY HOLD: STUDIO MUSEUM ARTISTS IN RESIDENCE 2023-24 FEATURED THE WORK OF THIS COHORT CREATED WHILE IN RESIDENCE AND WAS ON VIEW SEPTEMBER 2024 / FEBRUARY 2025 AT MOMA PS1. BETWEEN MATTER AND MEMORY: EXPANDING THE WALLS 2023 (AUGUST 2023 / JULY 2024) AND SOMETHING IN THE WATER: EXPANDING THE WALLS 2024 (JULY 2024 / JULY 2025), THE EXHIBITIONS FOR OUR SIGNATURE TEEN PROGRAM, EXPANDING THE WALLS: MAKING CONNECTIONS BETWEEN PHOTOGRAPHY, HISTORY, AND COMMUNITY, WERE ON VIEW ONLINE, AND THE HARLEM POSTCARDS SERIES ALSO CONTINUED IN ITS ONLINE FORMAT.
- $2.2 million spent. COLLECTION MANAGEMENT: IN CONJUNCTION WITH THE CURATORIAL TEAM, COLLECTION MANAGEMENT ALSO SPENT MOST OF FY25 PREPARING FOR THE NOVEMBER 2025 BUILDING OPENING, PROVIDING LABOR AND LOGISTICS FOR THE INSTALLATION OF THE INAUGURAL EXHIBITIONS INCLUDING TOM LLOYD, FROM NOW: A COLLECTION IN CONTEXT, AND TO BE A PLACE, IN ADDITION TO NEWLY-COMMISSIONED WORKS BY CAMILLE NORMENT, CHRISTOPHER MYERS AND KAPWANI KIWANGA. COLLECTION MANAGEMENT ALSO CONTINUED ITS LONG-TERM PROJECT OF INVENTORYING WORKS, PHOTOGRAPHING THEM, CONDUCTING CONDITION REPORTS, AND SHIPPING OBJECTS TO CONSERVATORS AND FRAMERS. THIS ENABLED THE TEAM TO CONSERVE AND RESTORE VULNERABLE WORKS IN THE COLLECTION.
- $2.0 million spent. LEARNING AND ENGAGEMENT: IN FY25, THE LEARNING AND ENGAGEMENT DEPARTMENT CONTINUED TO DEEPEN CONNECTIONS BETWEEN ART AND COMMUNITY THROUGH PROGRAMS DESIGNED TO NURTURE CREATIVITY, EXPAND ACCESS, AND SUPPORT AUDIENCES ACROSS GENERATIONS. SCHOOL PARTNERSHIPS TRANSFORMED LOCAL PUBLIC SCHOOL CLASSROOMS INTO COLLABORATIVE ART SPACES WHERE ARTIST EDUCATORS LED HANDS-ON PROJECTS ROOTED IN INQUIRY-BASED METHODS OF EXPLORATION, STRENGTHENING STUDENT ENGAGEMENT WITH ARTISTS OF AFRICAN DESCENT AND THE MUSEUM'S COLLECTION WHILE SUPPORTING TEACHERS WITH TAILORED ART-BASED CURRICULUM.COMMUNITY PARTNERSHIPS PROVIDED SUSTAINED CREATIVE ENGAGEMENT FOR ORGANIZATIONS ACROSS HARLEM AND NEW YORK CITY, OFFERING ARTMAKING WORKSHOPS, ARTIST VISITS, AND COLLABORATIVE INSTALLATIONS THAT CENTERED WELLNESS, REFLECTION, AND COMMUNITY STORYTELLING. THESE PARTNERSHIPS ENGAGE COMMUNITY MEMBERS INCLUDING OLDER ADULTS, YOUTH IMPACTED BY THE JUVENILE COURT AND FOSTER CARE SYSTEMS, AND INDIVIDUALS NAVIGATING REENTRY, REINFORCING THE MUSEUM'S COMMITMENT TO ACCESSIBLE, COMMUNITY-CENTERED ARTS EDUCATION.TEEN PROGRAMS FOSTERED A SUPPORTIVE ENVIRONMENT FOR YOUNG PEOPLE TO EXPLORE IDENTITY, DEVELOP ARTISTIC AND COMMUNICATION SKILLS, AND CONNECT WITH PRACTICING ARTISTS. THE STUDIO MUSEUM'S SIGNATURE YOUTH PROGRAM, EXPANDING THE WALLS: MAKING CONNECTIONS BETWEEN PHOTOGRAPHY, HISTORY AND COMMUNITY CELEBRATED ITS 25TH YEAR, WITH AN INTENSIVE PHOTOGRAPHY-BASED CURRICULUM, COMPLEMENTED BY FIELD EXCURSIONS, ARTIST TALKS, AND INTERGENERATIONAL COLLABORATIONS THAT NURTURED CONFIDENCE, CREATIVITY, AND A SENSE OF BELONGING AMONG PARTICIPANTS. FAMILY PROGRAMS, INCLUDING MONTHLY LIL' STUDIO SESSIONS, PROVIDED PATHWAYS FOR FAMILIES TO EXPLORE ART TOGETHER AND CONTINUED TO EXTEND THE MUSEUM'S CONNECTION WITH FAMILIES IN COMMUNITY-BASED ORGANIZATIONS SUCH AS LOCAL LIBRARIES. STUDIO MUSEUM INSTITUTE PROGRAMS, INCLUDING FELLOWSHIPS, INTERNSHIPS, MUSEUM EDUCATION PRACTICUM AND ARTS LEADERSHIP PRAXIS CONTINUED TO CULTIVATE THE NEXT GENERATION OF ARTS CULTURAL WORKERS AND LEADERS IN THE FIELD. PUBLIC PROGRAMS ORGANIZED FREE PUBLIC EVENTS OFFERING OPPORTUNITIES FOR AUDIENCES TO ENGAGE WITH THE STUDIO MUSEUM'S ARTISTS IN RESIDENCE AND TO CONNECT WITH EXHIBITIONS THROUGH PROGRAMMING FEATURING ARTISTS, CURATORS, AND SCHOLARS.
- $5.6 million spent. MARKETING AND COMMUNICATIONS: THROUGH FY25, THE MARKETING AND COMMUNICATIONS DEPARTMENT FOCUSED ON THE IDEATION, PLANNING, AND IMPLEMENTATION OF THE STUDIO MUSEUM'S FALL 2025 GRAND REOPENING CAMPAIGN THROUGH EARNED, OWNED, AND OPERATED CHANNELS. WITH THE SUPPORT OF EXTERNAL CONTRACTORS AND AGENCIES, THE TEAM SHAPED A MULTI-PLATFORM PRINT, DIGITAL, AND OOH MARKETING CAMPAIGN THAT LEVERAGED THE MUSEUM'S BRANDING, CORE MESSAGING, AND PERMANENT COLLECTION TO BUILD MOMENTUM TOWARD THE OPENING OF ITS NEW BUILDING. THE TEAM ALSO MAPPED OUT A ROBUST FRAMEWORK TO AMPLIFY THE MUSEUM'S MISSION, HISTORY, PROGRAMS, AND LEADERSHIP THROUGH LOCAL, NATIONAL, AND INTERNATIONAL PRESS. THE MUSEUM CONTINUED TO EXPAND ITS DIGITAL CONTENT BY PUBLISHING SHORT AND LONG-FORM VIDEO CONTENT THAT OFFERED A BEHIND-THE-SCENES LOOK AT ITS REOPENING AND INAUGURAL EXHIBITIONS, AND CREATING AUDIO EXPERIENCES CONTEXTUALIZING PROMINENT THEMES AND WORKS IN THE PERMANENT COLLECTION.RETAIL AND VISITOR SERVICES: THE RETAIL DEPARTMENT DEVELOPED ADDITIONAL ITEMS FOR THE STUDIO MUSEUM IN HARLEM COLLECTION, A SUITE OF PRODUCTS INSPIRED BY THE NEW BRAND AND FONT. THE ONLINE STORE ALSO OFFERED NEW SETS OF STUDIO MAGAZINE BACK ISSUES FOR THE FIRST TIME IN THE MUSEUM'S HISTORY. THE TEAM IS PREPARING TO OPEN A BRICK-AND-MORTAR STORE IN THE NEW BUILDING, WHICH WILL FEATURE PRODUCTS FROM BLACK ENTREPRENEURS AND BRANDS.BUILDING OPERATIONS:IN SEPTEMBER OF 2024, THE BUILDING OPERATIONS TEAM OVERSAW THE MOVE INTO STUDIO MUSEUM HEADQUARTERS (SMHQ), A 16,700 SQUARE FOOT SPACE THAT HOLDS A MAJORITY OF THE MUSEUM'S ADMINISTRATIVE AND PROGRAM STAFF AND OFFICES. THIS INCLUDED THE CONSOLIDATION OF TECHNOLOGY, FURNISHINGS, AND RECORDS HELD IN THE EXISTING SATELLITE OFFICE LEASED AROUND HARLEM.CAPITAL PROJECT: IN FY25, THE STUDIO MUSEUM WAS PREPARING FOR THE OPENING OF THE FIRST BUILDING IN ITS HISTORY CREATED EXPRESSLY FOR THE NEEDS OF THE INSTITUTION AND ITS COMMUNITIES. DESIGNED BY ADJAYE ASSOCIATES WITH COOPER ROBERTSON, THE NEW BUILDING OCCUPIES THE SITE ON WEST 125TH STREET ON WHICH THE STUDIO MUSEUM HAS BEEN OPERATING SINCE 1982, IN A CENTURY-OLD COMMERCIAL STRUCTURE ADAPTED BY THE CELEBRATED ARCHITECT J. MAX BOND, JR. UNDERTAKEN AS A PUBLIC-PRIVATE INITIATIVE IN PARTNERSHIP WITH THE CITY OF NEW YORK, THE NEW 82,000-SQUARE-FOOT BUILDING WILL ENABLE THE STUDIO MUSEUM TO: EXPAND ITS INTERNATIONALLY RENOWNED EXHIBITIONS AND, FOR THE FIRST TIME, SIMULTANEOUSLY ENABLE IT TO DISPLAY INSTALLATIONS FROM ITS UNPARALLELED PERMANENT COLLECTION; OFFER INCREASED EDUCATIONAL OPPORTUNITIES AND PUBLIC PROGRAMS FOR ITS GROWING AND DIVERSE AUDIENCE; WELCOME VISITORS WITH AN ENHANCED EXPERIENCE; AND ESTABLISH A DISTINGUISHED ARCHITECTURAL PRESENCE ON 125TH STREET, AS A CULTURAL ANCHOR FOR THE HARLEM COMMUNITY. ADDITIONALLY, SPACE FOR EXHIBITIONS AND THE MUSEUM'S SIGNATURE ARTIST-IN-RESIDENCE PROGRAM WILL MORE THAN DOUBLE, AND INDOOR AND OUTDOOR PUBLIC SPACE (INCLUDING SPACE FOR EDUCATIONAL ACTIVITIES AND OTHER PROGRAMS) WILL INCREASE BY ALMOST SEVENTY PERCENT.
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 November 6, 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 November 1967.
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 November 4, 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.