Form 990 for tax year 2023

Totals

Total revenue

$4,618,277

Total expenses

$7,732,773

Contributions and grants received

$3,911,769

Grants paid

$0

Program service revenue

$513,734

Investment income

$299,486

Other revenue

-$106,712

Total assets, end of year

$10,812,220

Total liabilities, end of year

$1,885,486

Net assets or fund balances, end of year

$8,926,734

Program services expenses (Part IX)

$4,906,288

Management and general expenses

$1,909,172

Fundraising expenses

$917,313

Program service expenses (Part III)

$4,906,288

Program services were 63.4% of total expenses calculated — Part IX's program-services column over total expenses, both as filed.

Line items

Every line the filer filed in Parts VIII, IX and X, as filed and in filed order. Blank columns are left out, and the lines are not forced to add up to the totals above.

Mission and programs · 2023

• CURATORIAL AND EXHIBITIONS: CO-CURATED BY RODRIGO MOURA AND JULIETA GONZALEZRADICAL GESTURES ARE AT THE CORE OF RAPHAEL MONTAEZ ORTIZ' LIFE AND WORK. RADICAL GESTURES THAT PROPOSE DESTRUCTION IN ART AS AN ANTIDOTE TO THE HEGEMONIC NARRATIVE OF EUROCENTRISM, CAPITALISM, AND PROGRESS. RADICAL GESTURES THAT SEEK OUT THE HEALING POTENTIAL IN ART AND THE RETURN TO ANCESTRAL AND INDIGENOUS FORMS OF KNOWLEDGE.THIS EXHIBITION PRESENTS SIXTY-FIVE YEARS OF THE ARTIST'S TRAJECTORY, INCLUDING HIS RADICAL GESTURE OF FOUNDING EL MUSEO DEL BARRIO IN 1969, THE INSTITUTION THAT NOW PRESENTS THIS EXHIBITION, HIS FIRST MAJOR PRESENTATION HERE SINCE 1988. BORN IN BROOKLYN, THE ARTIST'S FORMATIVE YEARS WORKING IN NEW YORK AND HIS ACTIVISM FOR THE PUERTO RICAN COMMUNITY OFFER A STARTING POINT FOR THE EXHIBITION'S NARRATIVE, PRECEDING HIS EVENTUAL RELOCATION TO NEW JERSEY WHERE HE EXPANDED HIS PHILOSOPHICAL THINKING, BECAME A MENTORING PROFESSOR TO NEW GENERATIONS, AND CONTINUED TO EXPERIMENT WITH NEW MEDIA.IN HIS PHD THESIS DEFENDED IN 1982, MONTAEZ ORTIZ ELABORATED ON THE NOTION OF "AUTHENTICATING ART" AS THE CONCEPTUAL IN HIS PHD THESIS DEFENDED IN 1982, MONTAEZ ORTIZ ELABORATED ON THE NOTION OF "AUTHENTICATING ART" AS THE CONCEPTUAL FRAMEWORK FOR HIS PRODUCTION. THIS SINGULAR CONCEPT TAKES ON A RANGE OF INTERCONNECTED MEANINGS IN HIS PRACTICE AND INCLUDES THE HEALING POTENTIAL OF IMAGINATION, THE COMMUNION BETWEEN PHYSIOLOGICAL AND PSYCHOLOGICAL PROCESSES, AND A MULTIETHNIC APPROACH THAT IN THE ARTIST'S PARTICULAR CASE DEALS WITH HIS PERSONAL HISTORY AND DIVERSE BACKGROUND. TAKING THE CUE FROM ANTHROPOLOGIST EDWARD SAPIR'S 1924 ESSAY CULTURE, GENUINE AND SPURIOUS, MONTAEZ ORTIZ USES THE TERM "AUTHENTICATING" AS ONE THAT IS CHARACTERISTIC OF ANCESTRAL CULTURES, WHEREAS THE "SPURIOUS" RESIDES IN THE ALIENATION BROUGHT ABOUT BY MODERN INDUSTRIALIZATION AND CONSUMER CULTURE. IN THIS SENSE, HIS THINKING AND ARTISTIC PRACTICE CAN BE READ AS A DIALECTIC BETWEEN THE AUTHENTICATING AND THE SPURIOUS, WHICH IN TURN ORGANIZES THE THEMATIC SECTIONS IN THE EXHIBITION AND INFORMS THE CONTEXTUAL RELATIONS BETWEEN ORTIZ AND HIS PEERS, WORKING NOT ONLY IN NEW YORK, BUT IN OTHER PARTS OF THE WORLD. TODAY, WE WITNESS A POST-CARTESIAN TURN IN FIELDS SUCH AS ART, PHILOSOPHY, AND ANTHROPOLOGY. THIS NEW MOMENT ENCOURAGES US TO REEMBRACE MAGICAL THINKING, ANIMISM, AND A SYMBIOTIC RELATION TO NATURE IN ORDER TO COUNTERACT THE POTENTIALLY LETHAL EFFECTS OF UNFETTERED "PROGRESS," ITS CONCOMITANT DESTRUCTION OF OUR ENVIRONMENT, AND THE CONVIVIAL RELATION BETWEEN HUMANS AND OTHER SPECIES. IN THIS CONTEXT, A REVISION OF RAPHAEL MONTAEZ ORTIZ' WORK IS MORE RELEVANT AND NECESSARY THAN EVER.RAPHAEL MONTANEZ ORTIZ: A CONTEXTUAL RETROSPECTIVE IS PRESENTED BY [PRESENTADA POR] LEADERSHIP SUPPORT IS PROVIDED BY TONY BECHARA. MAJOR SUPPORT IS PROVIDED BY THE TERRA FOUNDATION, ANDY WARHOL FOUNDATION, AND ROCKEFELLER BROTHERS FUND. ADDITIONAL SUPPORT IS PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS (DCLA). DOMESTICANXOCTOBER 27, 2022 MARCH 26, 2023CURATED BY SUSANNA V. TEMKINDOMESTICANX BRINGS TOGETHER SEVEN LATINX ARTISTS WHOSE PRACTICES ADDRESS HOME, DECORATION, SPIRITUALITY, AND HEALING. THE SHOW IS INSPIRED BY DOMESTICANA, AN IDEA FIRST CONCEPTUALIZED BY ARTIST, SCHOLAR, AND CRITIC AMALIA MESA-BAINS. ORIGINALLY PUBLISHED IN A 1995 ESSAY THAT IS TODAY CONSIDERED AN ESSENTIAL TEXT IN CHICANO/A/X AND LATINO/A/X ART HISTORY, DOMESTICANA OFFERED A RESPONSE TO THE MALE-DOMINATED RASQUACHISMO, AN EARLIER TERM COINED BY SCHOLAR TOMS YBARRA-FRAUSTO. PROPOSED FROM A FEMINIST PERSPECTIVE, DOMESTICANA SHIFTS THE DEFIANT AND MAKE-DO INVENTIVENESS THAT CHARACTERIZES RASQUACHE VERNACULAR SENSIBILITY TO THE SPECIFIC EXPERIENCE OF WORKING-CLASS WOMEN. DRAWING FROM MESA-BAINS'S OWN ACKNOWLEDGEMENT THAT "TERMINOLOGIES MUST REMAIN POROUS, SENSIBILITIES NEVER COMPLETELY NAMED, AND CATEGORIES SHATTERED," DOMESTICANX EXPANDS THE ARTIST'S INITIAL THEORY THROUGH THE LENS OF QUEERNESS AND INTERSECTIONALITY.ENCOMPASSING PAINTING, TEXTILE, CERAMICS, PHOTOGRAPHY, AND INSTALLATION, THE EXHIBITION FEATURES A RANGE OF MEDIA BY ARTISTS WHOSE DIVERSE BACKGROUNDS EXTEND THE ORIGINAL CHICANA EMPHASIS OF DOMESTICANA. IN ADDITION TO MESA-BAINS, NITZA TUFIO AND MARIA BRITO, FELLOW VETERANA ARTISTS FROM THE SAME GENERATION, ARE REPRESENTED BY BOTH HISTORICAL AND RECENT PIECES. THEIR WORK IS DISPLAYED ALONGSIDE NEWLY CREATED ART BY AMARISE CARRERAS, CIELO FLIX-HERNNDEZ, JOEL GAITAN, AND MISLA, ALL MAKING THEIR MUSEUM DEBUT. EXPLORING SUCH SUBJECTS AS THE ALTAR, FAMILY, SELF-FASHIONING, AND THE DOMESTIC SPHERE, THE EXHIBITION IS ORGANIZED IN IMMERSIVE DISPLAYS DEVELOPED IN CONVERSATION WITH THE ARTISTS. TOGETHER, THESE PRESENTATIONS OFFER A CROSS-GENERATIONAL DIALOGUE THAT REFLECTS THE EMANCIPATORY AIMS OF MESA-BAINS'S EXHORTATION FOR DOMESTICANA AS EXPRESSION TO "UNDO THE WOUNDS OF PATRIARCHY AND COLONIZATION."DOMESTICANX IS SUPPORTED BY THE ROCKEFELLER BROTHERS FUND, WITH ADDITIONAL FUNDING PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.JUAN FRANCISCO ELSO: POR AMRICAOCTOBER 27, 2022 MARCH 26, 2023CURATED BY GUEST CURATOR OLGA VISO IN COLLABORATION WITH SUSANNA V. TEMKINJUAN FRANCISCO ELSO (B. 1956-1988, HAVANA) EMERGED AS AN INTERNATIONALLY RECOGNIZED ARTIST IN CUBA AND MEXICO DURING THE 1980S. USING NATURAL, EARTHEN MATERIALS, HIS SCULPTURAL PRACTICE EXAMINES THE COMPLEX FORMATIONS OF CONTEMPORARY CUBAN, CARIBBEAN, AND LATIN AMERICAN IDENTITIES. IN ELSO'S CONCEPTION, THESE PRISMATIC SUBJECTIVITIES ARE GROUNDED IN RICH, INDIGENOUS HISTORIES THAT HAVE BEEN MATERIALLY SHAPED BY CENTURIES OF COLONIAL OPPRESSION AND THE TRANSATLANTIC SLAVE TRADE. AS REFLECTED IN HIS WORKS THAT CONTEST AND RECONCEIVE INHERITED NARRATIVES AND MYTHOLOGICAL TRADITIONS, ELSO'S AMRICA IS A TRANSNATIONAL AND TRANSHEMISPHERIC CULTURAL IMAGINARY THAT REMAINS UNFINISHED AND IS STILL EVOLVING. BASED IN HAVANA, ELSO WAS PART OF THE FIRST GENERATION BORN AND EDUCATED IN POST-REVOLUTIONARY CUBA. HE BRIEFLY LIVED IN MEXICO CITY IN THE YEARS LEADING UP TO HIS UNTIMELY DEATH FROM CANCER AT AGE 32. YET, THE ARTIST'S MODEST ARTISTIC OUTPUTSOME THIRTY EXTANT SCULPTURES AND WORKS ON PAPER PRODUCED BETWEEN 1978 AND 1988HAS CONTINUED TO HAVE A GLOBAL RESONANCE. HIS BEST-KNOWN SCULPTURE, POR AMRICA [FOR AMERICA] (1986), IS CONSIDERED AN ICON OF LATE 20TH CENTURY LATIN AMERICAN ART, AND AN IMPORTANT PRECURSOR TO TODAY'S POST- AND DECOLONIAL PERSPECTIVES IN CONTEMPORARY ART.DESPITE ELSO'S INFLUENCE HIS ARTISTIC PRODUCTION HAS HAD VERY LITTLE EXPOSURE IN THE US SINCE THE EARLY 1990S. THE EPHEMERAL NATURE OF HIS PRACTICE, COUPLED WITH THE COMPLEXITIES OF USCUBAN POLITICAL RELATIONS, HAS MADE THE LOAN AND DISPLAY OF HIS WORK A CHALLENGE. DESPITE SUCH LIMITATIONS, THIS EXHIBITION BRINGS TOGETHER NEARLY ALL OF ELSO'S MATURE OEUVRE FOR THE FIRST TIME SINCE HIS SOLO EXHIBITION IN HAVANA IN 1982, INCLUDING NEWLY DISCOVERED DRAWINGS AND WORKS PREVIOUSLY BELIEVED LOST. PRESENTED THROUGH A CONTEXTUAL RATHER THAN MONOGRAPHIC APPROACH, ELSO'S PRESCIENT WORK IS POSITIONED AT THE CENTER OF A MULTIGENERATIONAL DIALOGUE OF ARTISTS ACTIVE IN THE CARIBBEAN, AND THROUGHOUT NORTH, SOUTH, AND CENTRAL AMERICA. ORGANIZED INTO SEVERAL, INTERRELATED THEMATIC SECTIONS FEATURING 45 WORK BY MORE THAN 30 ARTISTS, THE PRESENTATION OFFERS VITAL CROSSCURRENTS BETWEEN ELSO'S ART AND THE CREATIVE OUTPUT OF BOTH CLOSE COLLEAGUES AND OTHERS WHO, DESPITE HAVING NOT KNOWN HIM, DEMONSTRATE PARALLEL AFFINITIES. TOGETHER, ELSO AND THESE POLYPHONIC VOICES REFLECT A REORIENTATION OF WESTERN HEGEMONIES AND OPEN NEW POSSIBLE ALTERNATIVES ROOTED IN THE AMERICAS AN AMBITION WHICH ECHOES EL MUSEO DEL BARRIO'S OWN FOUNDATIONAL ETHOS AND CONTINUED COMMITMENTS. JUAN FRANCISCO ELSO: POR AMRICA IS ACCOMPANIED BY A BILINGUAL PUBLICATION, CO-PUBLISHED BY EL MUSEO DEL BARRIO AND [NAME] PUBLICATIONS.THE EXHIBITION IS MADE POSSIBLE THANKS TO MAJOR SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS. ADDITIONAL SUPPORT IS PROVIDED BY TONY BECHARA; CELSO GONZALEZ-FALLA; CRAIG ROBINS; STEVEN AND JUDY SHANK, AND JOHN THOMSON. COMMISSIONS ARE MADE POSSIBLE BY VIA ART FUND AND THE ELIZABETH FIRESTONE GRAHAM FOUNDATION. SUPPORTED IN PART WITH PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.METHUSELAHREYNIER LEYVA NOVO'S METHUSELAH IS A DIGITAL ARTWORK THAT VIRTUALLY REPRODUCES THE OVER 6,000 MILE TRANSNATIONAL MIGRATORY JOURNEY OF A SINGLE MONARCH BUTTERFLY. THE PROJECT FOLLOWS A BUTTERFLY AVATAR AS IT TRAVELS FROM SOUTHERN CANADA, ACROSS THE UNITED STATES, AND INTO MEXICO, AND BACK, AS PART OF THE ANNUAL REPRODUCTIVE CYCLE OF THE SPECIES. THIS EPIC JOURNEY IS HOSTED AND REPRODUCED IN REAL TIME ON A DEDICATED WEBSITE, MOBILE APP, AND A MIXED-REALITY INSTALLATION ON VIEW IN EL MUSEO DEL BARRIO'S ROOM 110.

  Expenses $1,818,117

• MUSEUM/THEATRE OPERATIONS: MUSEUM OPERATIONS: EL MUSEO IS OPEN THURSDAY THROUGH SUNDAY FROM 11 AM TO 5 PM. IN ADDITION TO EXCITING EXHIBITIONS, EDUCATIONAL AND PUBLIC PROGRAMS AND CULTURAL CELEBRATIONS, IT OFFERS VISITOR AMENTITIES SUCH COAT CHECK AND MUSEUM SHOP. GUEST ARE ENCOURAGED TO RESERVE A TIME TICKET IN ADVANCE AND WALK-INS ARE ALLOWED AS SPACE PERMITS. THEATRE - THE HISTORIC AND BEAUTIFUL TEATRO IS THE ONLY THEATER OF ITS KIND IN THE UPPER EAST SIDE OF MANHATTAN. CONSISTING OF A PROSCENIUM ARCH STAGE WITH AN ORCHESTRA PIT AND SEATING FOR 572 GUESTS, IT HAS BEEN ACKNOWLEDGED AS A LANDMARK QUALITY INTERIOR VENUE FOR ITS REMARKABLE SERIES OF 30-FOOT MURALS AND STAINED-GLASS ROUNDELS. EL TEATRO IS IDEAL FOR AWARD SHOWS, LECTURES, CONCERTS, OPERAS, MEDIA EVENTS, FILM/PHOTO SHOOTS, GRADUATIONS, CONFERENCES AND MORE.

  Expenses $1,225,976 · Revenue $352,497

• THE MARKETING AND COMMUNICATIONS DEPARTMENT PLAYS A PIVOTAL ROLE IN AMPLIFYING EL MUSEO DEL BARRIO'S MISSION BY PROMOTING ITS EXHIBITIONS, EDUCATION AND PUBLIC PROGRAMS, AND INITIATIVES TO OUR VIBRANT AND DIVERSE COMMUNITY OF NEIGHBORS, ARTISTS, VISITORS, AND SUPPORTERS. WITH A STRATEGIC EMPHASIS ON MEDIA RELATIONS, ADVERTISING, WEB, DIGITAL APP, AND SOCIAL MEDIA COMMUNICATIONS, PRINT MARKETING, THE DEPARTMENT DRIVES COMPREHENSIVE OUTREACH EFFORTS TO MAXIMIZE ENGAGEMENT AND VISIBILITY.IN FISCAL YEAR 2024, THE DEPARTMENT SPEARHEADED IMPACTFUL CAMPAIGNS THAT HIGHLIGHTED EL MUSEO'S FREE EDUCATIONAL INITIATIVES, DYNAMIC PUBLIC PROGRAMS, AND CRITICALLY ACCLAIMED EXHIBITIONS. NOTABLE HIGHLIGHTS INCLUDED OCAMA ARACOEL, A GALLERY ON VIEW AS PART OF THE LONG-TERM EXHIBITION SOMETHING BEAUTIFUL: REFRAMING LA COLECCIN, AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY, AND CUERPO: CARLOS MARTIEL. ADDITIONALLY, THE DEPARTMENT SUCCESSFULLY MANAGED ALL MEDIA INQUIRIES AND REPRESENTED THE MUSEUM IN INTERVIEWS AND PUBLIC COMMUNICATIONS, ENSURING ACCURATE AND COMPELLING REPRESENTATION OF ITS MISSION AND WORK. THROUGH CONSISTENT AND ENGAGING UPDATES ACROSS EL MUSEO'S OWNED CHANNELS (WEBSITE, EMAIL NEWSLETTERS, AND SOCIAL MEDIA), THE DEPARTMENT MAINTAINED STRONG CONNECTIONS WITH THE COMMUNITY, FOSTERING AWARENESS AND PARTICIPATION IN THE MUSEUM'S OFFERINGS.

  Expenses $393,946

• OFF-SITE PARTNERSHIPSDURING THE SPRING OF FY 23, EL MUSEO PARTNERED WITH PS 89Q TO FACILITATE AFTERSCHOOL CASA PROGRAMMING, AND WITH PS 83M, PS 72M, PS 4M, THE BILINGUAL BICULTURAL SCHOOL (BBMS), VANGUARD HIGH SCHOOL, AND HUNTER HIGH SCHOOL TO FACILITATE IN-SCHOOL PARTNERSHIPS. IN JUNE, THE PROGRAM SERIES, LED BY EL MUSEO'S TEACHING ARTISTS, CULMINATED WITH END-OF-SCHOOL YEAR CELEBRATIONS THAT HIGHLIGHTED STUDENTS' ARTWORKS AND ACCOMPLISHMENTS. CASA (CULTURAL AFTER SCHOOL ADVENTURES) SUPPORTS EXTENSIVE, BILINGUAL, AND CULTURALLY RELEVANT SCHOOL RESIDENCY PARTNERSHIPS (12-14 SESSIONS, 2 HOURS EACH), ENRICHING THE AFTERSCHOOL NEEDS OF OUR PARTNERING SCHOOLS. CASA PARTNERSHIPS ARE DESIGNED TO SUPPORT AND ENHANCE THE SCHOOL'S ENTIRE LEARNING COMMUNITY, INCLUDING PARENTS AND TEACHERS BY USING FUNDS FOR A TAILORED CURRICULUM AND MATERIALS, TEACHING ARTIST FEES, VISITS TO EL MUSEO, AND THE INSTALLATION OF ART CREATED BY STUDENTS OF THE PROGRAM. THIS PROGRAM ALSO PROVIDES STUDENTS WITH THE OPPORTUNITY TO DEEPLY EXPLORE MULTIPLE PROJECTS AND ACQUIRE UNCONVENTIONAL/ALTERNATIVE ART MAKING AND CRITICAL THINKING SKILLS. EL MUSEO'S SCHOOL PARTNERSHIP CURRICULUM IS UNIQUE IN THAT IT IS DESIGNED AROUND CONVERSATIONS WITH THE TEACHERS AND STAFF OF EACH SCHOOL, CONSIDERING THEIR COMMUNITIES AND THE COMMUNITY AROUND THE SCHOOL, EXPOSING THE STUDENTS TO THE RICHNESS OF LATINX, CARIBBEAN AND LATIN-AMERICAN ART AND CULTURE AND AS A RESULT, THE CULTURAL DIVERSITY OF NEW YORK CITY. EL MUSEO'S OFF-SITE PARTNERSHIP PROGRAMS SERVED APPROXIMATELY 260 STUDENTS AND TEACHERS IN FY 23. ON-SITE EDUCATION PROGRAMSGUIDED VISITS OFFER INDIVIDUALS OF ALL AGES MULTIPLE ENTRY POINTS TO EXPLORE EL MUSEO'S MISSION AND HISTORY, PERMANENT COLLECTION, EXHIBITIONS, AND CULTURAL CELEBRATIONS, WHILE FOSTERING INDIVIDUAL AND COLLECTIVE SHARING AND UNDERSTANDING THROUGH INQUIRY AND DIALOGUE. PARTICIPANTS HAVE THE OPPORTUNITY TO CONSIDER THE EXPERIENCES OF COMMUNITIES FROM PUERTO RICO, LATIN AMERICA, THE CARIBBEAN AND THE UNITED STATES THROUGH IN-DEPTH EXPLORATIONS OF WORKS OF ART IN EL MUSEO'S EXHIBITIONS AND PERMANENT COLLECTION. A GUIDED VISIT PROGRAM TYPICALLY INCLUDES A 60-MINUTE GUIDED TOUR OF EL MUSEO'S EXHIBITIONS LED BY A MUSEUM EDUCATOR WITH AN OPTION OF EXPANDING THE PROGRAM TO INCLUDE A HANDS-ON ART-MAKING WORKSHOP FOR A 90 MINUTE PROGRAM. STORYTELLING PROGRAMS ARE ALSO A PART OF EL MUSEO'S GUIDED VISITS OFFERING. CREATED FOR KINDERGARTEN 3RD GRADE LEARNERS, STORYTELLING WORKSHOPS PROVIDE A CREATIVE AND BILINGUAL 90- MINUTE EXPERIENCE, INTRODUCING YOUNGER LEARNERS TO THE IDEAS OF NARRATIVE, CULTURE AND ART. WITH A CHOICE OF READING "WAITING FOR THE BIBLIOBURRO OR "TITO PUENTE: MAMBO KING", EACH STORYTELLING WORKSHOP IS ACCOMPANIED WITH AN ART MAKING ACTIVITY DIRECTLY RELATED TO THE STORY. CULTURAL CELEBRATION WORKSHOPS ARE AN INTEGRAL PART OF EL MUSEO'S GROUP VISITS PROGRAM AND INCLUDE FESTIVITIES LIKE DAY OF THE DEAD, THREE KINGS DAY AND EXTEND TO INCLUDE OUR AROUND THE BLOCK WALKING TOUR PROGRAM. THESE THREE PROGRAMS ARE OFFERED DURING VARIOUS TIMES THROUGHOUT THE YEAR AND INTRODUCE VISITORS OF ALL AGES TO THE DIVERSE TRADITIONS CELEBRATED IN EAST HARLEM, THROUGHOUT THE US, LATIN AMERICA AND THE CARIBBEAN. THESE SPECIAL WORKSHOPS ARE 90 MINUTE TOURS AND ARE ALSO LED BY MEMBERS OF OUR MUSEUM AND ARTIST EDUCATOR TEAM. EL MUSEO OFFERS ADULT TOURS AND WORKSHOPS: OUR TOURS AND WORKSHOPS ARE TAILORED TO OUR DIVERSE AUDIENCE INCLUDING PRIVATE GROUPS, COMMUNITY ORGANIZATIONS, COLLEGE STUDENTS, OLDER ADULTS, AND ADULT LANGUAGE LEARNERS. PROGRAMS ARE OFFERED IN SPANISH, ENGLISH OR AS BILINGUAL TOURS. IN ADDITION, DURING FY 23, THE EDUCATION DEPT BEGAN TO OFFER FREE PUBLIC TOURS FOR VISITORS ON SATURDAYS AND SUNDAYS. DURING THE 2023 FISCAL YEAR THE FOLLOWING VIRTUAL AND IN-PERSON GUIDED VISITS WERE OFFERED: STORYTELLING WAITING FOR THE BIBLIOBURRO/TITO PUENTE: MAMBO KING, HONORING OUR LOVED ONES: CULTURAL CELEBRATION WORKSHOP: DIA DE MUERTOS (OCTOBER-NOVEMBER), THREE KINGS: MULTICULTURAL CONNECTIONS, AROUND THE BLOCK WALKING TOUR, AND PROGRAMS RELATED TO THE EXHIBITIONS: RAPHAEL MONTAEZ ORTIZ - A CONTEXTUAL PERSPECTIVE, TALLER BORICUA: A POLITICAL PRINT SHOP IN NY, DOMESTICANX, JUAN FRANCISCO ELSO: POR AMRICA AND SOMETHING BEAUTIFUL. A TOTAL OF 7,173 STUDENTS, TEACHERS AND ADULTS WERE SERVED DURING FY 23 THROUGH ON-SITE GUIDED PROGRAMS. IN ADDITION, AS PART OF THE GUIDED VISIT PROGRAM, GROUP TRAINING SESSIONS AND INDIVIDUALIZED TRAINING SESSIONS WERE OFFERED THROUGHOUT THE YEAR TO THE TEAM OF MUSEUM EDUCATORS, IN CONJUNCTION WITH EXHIBITIONS, CULTURAL CELEBRATIONS AND OTHER GUIDED VISIT PROGRAMS. ACCESS PROGRAMS OFFER UNIQUE MUSEUM EXPERIENCES TO OLDER ADULTS AND INDIVIDUALS WITH ALZHEIMER'S AND DEMENTIA. DURING THE 2023 FISCAL YEAR THE FOLLOWING PROGRAMS WERE OFFERED: SU-CASA IS A COMMUNITY ARTS ENGAGEMENT PROGRAM THAT PLACES ARTISTS AND ORGANIZATIONS IN RESIDENCE AT SENIOR CENTERS ACROSS THE FIVE BOROUGHS OF NEW YORK CITY. THE PROGRAM, FUNDED IN FY23 BY THE NEW YORK CITY COUNCIL, PROVIDES GRANTS TO ARTISTS AND ORGANIZATIONS FOR THE CREATION AND DELIVERY OF ARTS PROGRAMMING FOR SENIORS. TEACHING ARTISTS ENGAGE PARTICIPATING SENIORS IN AN ART PROJECT OR SERIES OF CULTURAL PROGRAMS OVER THE COURSE OF THE RESIDENCY, WHICH ALSO INCLUDES A PUBLIC PROGRAM COMPONENT AN EXHIBIT, READING, PERFORMANCE, OPEN HOUSE OR OTHER CULTURAL INTERACTION OPEN TO THE SURROUNDING COMMUNITY. THE PROGRAM SUPPORTS RESIDENCIES FOR INDIVIDUAL ARTISTS AND CULTURAL ORGANIZATIONS AT SENIOR CENTERS ACROSS THE CITY'S 51 COUNCIL DISTRICTS. THIS INITIATIVE SEEKS TO CONNECT ARTISTS WITH SENIORS IN SENIOR CENTERS AND TO POSITIVELY IMPACT THE WELL-BEING OF OLDER ADULTS THROUGH ARTS-BASED ACTIVITIES. SU-CASA SUPPORTS ARTISTS AND ORGANIZATIONS SENSITIVE TO THE NEEDS OF OLDER ADULTS AND INTERESTED IN ENGAGING THEIR COMMUNITIES. DURING FY 23, TEACHING ARTIST AND EDUCATOR JULIA JUSTO PROVIDED IN-PERSON ART WORKSHOPS FOR SENIORS AT CARVER SENIOR CENTER IN EAST HARLEM, MANHATTAN (19 IN ATTENDANCE) AND RAICES ASTORIA SOCIAL SENIOR CENTER IN ASTORIA, QUEENS (17 IN ATTENDANCE) FOR OVER THE COURSE OF THREE MONTHS FROM APRIL TO JUNE. THEY EXPERIMENTED WITH VARIOUS ART FORMS INCLUDING ACRYLIC PAINT, STITCHING, COLLAGING, AND MORE.TEEN PROGRAMS PROVIDE OPPORTUNITIES FOR YOUTH OF THE FIVE BOROUGHS TO ENGAGE WITH THE MUSEUM'S MISSION THROUGH VARIOUS PROJECTS. IN FY23 EL MUSEO DEL BARRIO JOINED THE METROPOLITAN MUSEUM OF ART FOR A TEENS TAKE THE MET EVENT ON FRIDAY, MAY 12. EDUCATION DEPARTMENT STAFF ALONG WITHTEACHING ARTIST ELIEZER BERRIOS AND TWO HUNTER COLLEGE (CARE FOR THE FUTURE) INTERNS FACILITATED A "SOMETHING BEAUTIFUL: ARTMAKING STATION TO PROMOTE EL MUSEO'S NEW EXHIBITION AND PROGRAMS TO TEENS AT THIS MUSEUM-WIDE EVENT AT THE MET, ATTENDED BY MORE THAN 5,000 TEENS.FAMILY PROGRAMSCOQUI CLUB, DEVELOPED IN 2016, PROVIDES FAMILIES WITH CHILDREN (2-5 YEARS OLD), A SPACE TO LEARN, PLAY, EXPLORE, AND GROW IN A BILINGUAL ART MUSEUM SETTING. IN FY23 THE PROGRAM BEGAN TO TRANSITION FROM A VIRTUAL PROGRAM TO AN IN-PERSON PROGRAM OFFERED TWICE A MONTH WITH DIFFERENT THEMES FACILITATED BY EL MUSEO'S MUSEUM EDUCATORS. THE DEPARTMENT RELAUNCHED COQUI WITH AN IN-PERSON PROGRAM ON SATURDAY, DECEMBER 10, 2023, CELEBRATING THE WINTER HOLIDAYS. OUR EDUCATORS PREPARED A LESSON AND ART ACTIVITY USING THE BOOK A PIATA IN A PINE TREE BY PAT MORA. EDUCATORS AND PARTICIPANTS DISCUSSED HOLIDAY TRADITIONS PRACTICED IN SPANISH-SPEAKING COUNTRIES. ON FEBRUARY 4, 2023, WE HOSTED TWO IN-PERSON SESSIONS CENTERING ON BLACK HISTORY MONTH AND READ LIFE DOESN'T FRIGHTEN ME BY MAYA ANGELOU WITH ARTWORK BY JEAN MICHEL BASQUIAT. EDUCATORS AND PARTICIPANTS WERE ABLE TO DRAW CONNECTIONS TO THE STORY AS WELL AS THE ART DISPLAYED IN THE JUAN FRANCISCO ELSO EXHIBITION. COQUI CLUB RETURNED TO FULLY ONSITE PROGRAMMING ON THE FIRST SATURDAY AND THIRD WEDNESDAY OF THE MONTH DURING MARCH, APRIL AND MAY. IN MARCH, WE CELEBRATED WOMEN'S HISTORY MONTH BY READING MY NAME IS CELIA: THE LIFE OF CELIA BY MONICA BROWN AND ENGAGED WITH AN ARTWORK BY BELKIS AYON DRAWING CONNECTIONS BETWEEN TWO STRONG AFROLATINA CREATIVE FORCES. WE CELEBRATED THE WELCOMING OF SPRING AND PLANTED SEEDS DURING OUR APRIL SESSIONS. DURING THE MONTH OF MAY WE HONORED AAPI MONTH AS WELL AS MOTHER'S AND CAREGIVERS, WHERE WE INTRODUCED THE NEW SOMETHING BEAUTIFUL EXHIBITION AND THE ART OF MYRNA BAEZ. WE HOSTED A DRAG QUEEN STORY HOUR FOR OUR PRIDE SESSION ON JUNE 10, AND A SECOND PRIDE SESSION ON JUNE 21., ADDITIONAL RESOURCE MATERIALS ARE SHARED FOLLOWING EACH PROGRAM SO THAT FAMILIES CAN LEAD ART MAKING EXPERIENCES AT HOME. OVER 300 CHILDREN AND ADULTS PARTICIPATED IN THESE PROGRAMS IN FY 23.

  Expenses $1,468,249 · Revenue $202,073

As filed on the 2023 return. The filer continues this part on Schedule O, which is not shown here.

Listed in Part VII

Compensation is as filed in Part VII: reportable pay from this organization and from related organizations, other compensation, and hours per week. The total, marked calculated, is our sum of the three dollar columns, with a blank column counted as $0; the form itself has no total. On a Form 990-EZ the columns are Part IV's instead, and on a Form 990-PF Part VIII's — compensation, contributions to benefit plans, and expense account — and the total sums those. A Schedule J breakdown is as filed: base pay, bonus, other, deferred compensation and nontaxable benefits from this organization, with any from related organizations beside each, and the filer's own total. It is shown with the Part VII listing of the same name on the same return. The form gives no key between the two, so that pairing is ours, and is marked matched by us.

Schedule J

Part I's answers as filed. A line not listed was left unanswered; on lines 1a and 3 that means the box was not checked.

Grants on this return

No itemized grants to organizations on this return.

Provenance

Return type

form_990

Tax year

2023

Filed

15 May 2025

IRS schema version

2023v6.0

Source object

202541359349310539

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