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Dubbed as the second Harlem renaissance. On New York City's 125th St, where a statue of civil rights leader Adam Clayton Powell Jr marches onwards and upwards, the atmosphere is buzzing with energy and excitement.

A Community in Transformation

The celebrated Apollo Theatre is in the middle of significant upgrades. The National Black Theatre is set to relocate into an $80M cultural center spanning a entire block. Meanwhile, the National Urban League recently unveiled a $250 million building containing its main offices, affordable housing and retail space.

“This building says to the world: Harlem matters; Black art is significant; Black institutions are crucial,” remarked the chairman of the board of trustees. “It will stand as a lighthouse on this historic street, a space where art and people converge.”

Historical Roots

This institution was founded by creators, advocates, donors and local residents to address the widespread omission of Black artists from established museums. It opened in a leased space over an liquor store in 1968, a turbulent year of political murders, protests and social change.

“This moment feels what it must have felt like when it all began,” reflected a institutional representative. “The museum was born in a world of flux. The country was divided. People were marching. Creators were insisting to be seen and heard.”

Architectural Vision

The new $160 million facility spans 82,000 square feet across seven floors. 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 features galleries, an expansive lobby, flexible programme spaces, a specialized learning studio, a coffee shop and shop, plus a rooftop terrace with sweeping urban vistas. A monumental stair, clad in terrazzo, fills the central vertical gallery.

Notable Artworks

The inaugural programming showcases the institution's history and aspirations with four major exhibitions. One exhibition features the initial comprehensive retrospective of innovative creator an electronic art pioneer, whose electronic light sculptures appeared in the institution's first show.

• An artist's 1969 abstract Trane pays homage to jazz legend
• Kerry James Marshall's iconic work confronts lack of representation and Black representation
• Jean-Michel Basquiat's significant painting features vigorous marks and mixed media elements
• Faith Ringgold's first story quilt captures her community in both celebratory and mournful tones

Cultural Significance

The institution's opening feels especially meaningful during a time when inclusion programs, museums and the way African American history is told face increased scrutiny. The city has just chosen a mayor who embodies the metropolis's multicultural character, and this neighborhood has a particular talent for making renaissance resemble resistance.

“This community has constantly transformed,” commented a longtime director. “It's a district that has been evolving since it was founded. But Harlem has also been a community where Black culture has flourished.”

The museum celebrates its significant artist-in-residence programme with an alumni show including notable names such as contemporary portraitist, mixed-media artist and Titus Kaphar. The exhibition mixes recently created works with historical pieces spanning various periods.

Continuing Mission

Among new commissions are sound-based works and sculptural pieces. Metal containers created by sculptor Houston Conwill contain private statements by prominent African American figures, originally buried in the museum's sculpture garden in the mid-1980s and now on display with plans to be opened in September 2034.

Guests can explore an historical display of images and ephemera documenting the museum's history through its shows, events and programmes over nearly six decades. This extensive legacy includes notable occasions ranging from royal visits to local presentations that collectively demonstrate the institution's enduring impact.