Gareth Harris on how museums can balance ethics, accountability, and public trust
In this Q&A, we speak with Gareth Harris, author of 'Towards the Ethical Art Museum', about why museums have become a focal point for society’s ethical debates — and what a more transparent, accountable, and inclusive future for the art museum might look like.
About the author
Gareth Harris is a London-based journalist and chief contributing editor at The Art Newspaper, where he writes daily exclusive stories on the art world. Since 2009, he has contributed to publications including the Financial Times, The New York Times, Vogue, Apollo, Frieze, and more, covering topics from museum developments to restitution and major events like the Venice Biennale. This is his second book in the 'Hot Topics in the Art World' series, coming after the publication of 'Censored Art Today' in 2022.
What prompted you to write Towards the Ethical Art Museum?
I wanted to write a book that chimes with the times. In 2022, my first book in the “Hot Topics in the Art World” series—Censored Art Today—was published, highlighting how and why freedom of expression is under threat in a “new age of suppression”. The new book was published during a heated censorship debate in the United States centred on President Trump’s war on the Smithsonian Institution in Washington DC, a clash that demonstrates how museums in the United States have become a lightning rod for a “war on woke”.
Such disputes reflect how museums are under more scrutiny than ever (so the publication of Towards the Ethical Art Museum is definitely timely!). Crucially the book is a springboard for further discussion about how museums move forwards on a number of fronts—how they raise funds, who they collaborate with and how they steward their collections.
What’s the central argument of the book?
I write in the introduction: “This analysis is about who museums serve and how they fulfil that obligation, investigating why museums have become a focus for society’s ethical concerns in the 21st century, whether it is ever possible for a museum to be a neutral space, and what a policy framework for a more ethical museum could look like.” These are huge topics which evolve daily. The book, in four clearly demarcated chapters, looks “towards” new outcomes and models while working through current dilemmas. It’s a forward-thinking analysis rather than a diatribe.
What research underpins the book?
I’ve reported museum issues for the past two decades in my role as a writer and editor at The Art Newspaper. I was also a reporter at the UK Museums Journal for over five years (both roles meant I spoke regularly with sector professionals). After deciding on the structure of the book with my editors—chapter details, for instance—I contacted relevant people in the field, conducting around 60 interviews.
Can museums ever be “neutral” or is this a myth? What do you think this means in practice?
I agree with Icom (International Council of Museums) when it says: “Museums are not neutral. They are not separate from their social context, the structures of power and the struggles of their communities.” Museums also have to be models of diplomacy so will often be cautious regarding the messages they deliver to the media. Also, in our politicised age museums will always be accused of having an agenda (every wall caption tells a story and presents a viewpoint).
How should museums approach codes of ethics?
Codes of ethics instituted by professional bodies and organisations such as Icom should be welcomed; they provide solid benchmarks for museums trying to lay down basic ground rules and ethical standards. These organisational codes provide a good foundation and starting point for institutions.
Tate’s revised ethics policy (2022) underlines the basic tenet for all museum codes: “No individual should use his or her position at Tate for personal gain or to benefit another at the expense of the museum, its mission, its reputation, or the public which it serves, nor should any individual act in a way that could be reasonably seen by others as compromising the independence and integrity of Tate.”
Crucially Tate adds that “it is not possible to predict every situation in which its representatives may find themselves”. Internal ethics codes, which are not always fit for purpose, should always be a work in progress. I would add that the scope of museum ethics committees perhaps needs to extend and examine some areas in more depth—for instance, what is acceptable in relation to major donors and their families.
What reframing do you advocate on restitution and repatriation?
With restitution, there is no point vacillating behind legal frameworks; to recall the words of Esme Ward, the director of Manchester Museum, we frame restitution always in terms of losing something. Rather, it has to be reframed in terms of gaining something, working towards mutually beneficial relationships. Of course, this is difficult under the various legislative decrees in place, many of which are discussed in chapter 2 (“ethical collections management”).
You’ve highlighted “employee activism.” Why is it so pivotal to be aware of this now?
This issue will only become more pressing because internal staff issues are just as important as public-facing operations. I write: “This issue is not yet recognised fully by the museum sector in the sense that some museum leaders are not fully versed in building diverse and equitable workforces.” This aspect takes on extra resonance in the Trump 2.0 era. Expect to see more debate around whether museums are doing enough in this area.
What role should ethics committees play and do you think they're effective?
Most major museums—including all UK national museums—have ethics committees which are increasingly integral to museums. But from my experience, these tend to be reactive rather than proactive. They also need to be more transparent. More needs to be done across the museums sector regarding upholding and enforcing ethical standards. However, the most admirable thing about museums is that they are always willing to acclimatise and adapt.
Who should read it?
The books in the “Hot Topics in the Art World” series from Lund Humphries and Sotheby’s Institute of Art are aimed at current arts professionals and students as well as a non-specialist audience. Towards the Ethical Art Museum is a readable text (accessible, not too academic) which I hope will appeal to anyone interested in why museums, and the ethical stance they take, matter.
