QUEENS MUSEUM OF ART NEW YORK CITY BUILDING

As filed

Subsection

03

NTEE code

A510

Classification

1200

Street

FLUSHING MEADOW PARK

These codes are the IRS's own and are shown exactly as filed. What each one means is in the Business Master File documentation (opens in a new tab).

Mission and programs · 2024

• 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 MUOZIN BUENOS VECINOS, WHICH TRANSLATES TO "GOOD NEIGHBORS," CATALINA SCHLIEBENER MUOZ CONFRONTS THE IMPACT OF TWO WALT DISNEY ANIMATED FILMS: SALUDOS AMIGOS (1942) AND LOS TRES CABALLEROS (1944). BOTH FILMS EMERGED FROM DISNEY'S STATE-SPONSORED RESEARCH TRIPS TO SOUTH AND CENTRAL AMERICAN NATIONS AS PART OF THE GOOD NEIGHBOR POLICY, WHICH SOUGHT TO DISCOURAGE NAZI INFLUENCE AND IMPROVE THE UNITED STATES' PUBLIC IMAGE IN LATIN AMERICA FOLLOWING ITS NUMEROUS MILITARY INVASIONS THROUGHOUT THE EARLY 20TH CENTURY. DISNEY AND HIS TEAM OF ARTISTS TOURED ARGENTINA, BRAZIL, BOLIVIA, CHILE, PERU, AND MEXICO TO GENERATE VISUAL MOTIFS AND STORYLINES FOR RECOGNIZABLE CHARACTERS LIKE DONALD DUCK AND GOOFY, AS WELL TO CREATE NEW CHARACTERS, SONGS, AND DANCES BASED ON LOCAL CUSTOMS AND ARCHETYPES.A BILLION DOLLAR DREAM: THE 1964-1965 NEW YORK WORLD'S FAIR ON ITS 60TH ANNIVERSARYMARKING THE SIXTY-YEAR ANNIVERSARY OF THE 19641965 NEW YORK WORLD'S FAIR (NYWF), A BILLION DOLLAR DREAM REVISITS THE FAIR THROUGH AN ENVIRONMENTAL, SOCIAL, AND POLITICAL LENS. THIS EXHIBITION TAKES A FRESH LOOK AT THE FAIR'S LEGACY AND IMPACT ON AMERICAN CULTURE BY PLACING MATERIALS FROM THE QUEENS MUSEUM'S COLLECTION IN DIALOGUE WITH THE CONTEXT OF CONCURRENT DOMESTIC ISSUES, INTERNATIONAL POLITICS, AND CULTURAL EVENTS. IN ADVERTISING THE FAIR TO POTENTIAL INVESTORS, ROBERT MOSES, PRESIDENT OF THE NYWF CORPORATION, CALLED IT A "MAGNIFICENT SPECTACLE, SIGNIFICANT MARKETPLACE." THE FAIR DELIVERED ON THIS PROMISE. THROUGH DAZZLING DEMONSTRATIONS AND PRINTED MATERIALS, EXHIBITORS VIGOROUSLY PROMOTED CAR CULTURE, THE EVOLUTION OF LABOR, AND AMERICAN INTERVENTIONISM. THIS EXHIBITION REASSESSES THE WAYS IN WHICH IDEAS OF "PROGRESS," NATIONHOOD, AND REPRESENTATION WERE ADVERTISED AND DISTRIBUTED BY EXAMINING ARCHIVAL PHOTOGRAPHS, DOCUMENTS, POSTCARDS, POSTERS, UNIFORMS, AND OTHER EPHEMERA. TOGETHER THESE OBJECTS REVEAL THAT THE FAIR WAS NOT NEUTRAL GROUND, FLUCTUATING BETWEEN THE PROMISE OF A TECHNO-UTOPIA AND "THE GOOD OLD DAYS." BY CONSIDERING THE IMPACT OF THE FAIR AS BOTH A MARKET-DRIVEN AND SOCIO-CULTURAL PROPAGANDISTIC TOOL, THIS SHOW REFRAMES THE IMPACT OF THE FAIR BY PLACING ITS OFTEN-DISCUSSED IMAGINATIVE INNOVATION WITHIN A LARGER HISTORICAL FRAMEWORK.

  Expenses $2,951,816 · Revenue $174,573

• 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.

  Expenses $746,452 · Grants $18,000 · Revenue $59,564

• 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.

  Expenses $214,573 · Revenue $5,800

As filed on the 2024 return. The filer continues this part on Schedule O, which is not shown here.

Officers and directors · 2024

As listed in Part VII of the 2024 return, in the order the filer printed them. Each return names its own; this is not a roster the organization keeps with us.

The first 25 listed. 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. Earlier years are each on their own filing page.

Filings

• 2024

  Revenue

  $7,793,344

  Expenses

  $6,377,998

  Contributions

  $7,449,736

  Grants paid

  $18,000

• 2023

  Revenue

  $6,423,086

  Expenses

  $7,292,147

  Contributions

  $6,334,391

  Grants paid

  $25,000

• 2023

  Revenue

  $6,880,136

  Expenses

  $7,190,187

  Contributions

  $6,816,298

  Grants paid

  $25,000

• 2022

  Revenue

  $6,191,125

  Expenses

  $7,808,733

  Contributions

  $6,263,534

  Grants paid

  $25,223

The four totals the IRS asks for on Part I of the Form 990, as filed. A dash means the figure was not present on the return — not that it was zero.

Other returns filed

• 2021 · 990

  Revenue

  $6,381,652

  Expenses

  $6,589,602

  Assets (EOY)

  $36,572,943

• 2020 · 990

  Revenue

  $4,485,769

  Expenses

  $5,335,670

  Assets (EOY)

  $37,385,842

• 2019 · 990

  Revenue

  $3,986,211

  Expenses

  $5,157,990

  Assets (EOY)

  $38,022,976

• 2018 · 990

  Revenue

  $3,855,333

  Expenses

  $5,621,903

  Assets (EOY)

  $38,778,839

• 2017 · 990

  Revenue

  $5,518,473

  Expenses

  $6,312,761

  Assets (EOY)

  $40,552,218

• 2016 · 990

  Revenue

  $4,991,467

  Expenses

  $6,072,260

  Assets (EOY)

  $41,534,246

• 2015 · 990

  Revenue

  $4,825,565

  Expenses

  $6,470,911

  Assets (EOY)

  $42,696,668

• 2014 · 990

  Revenue

  $6,512,293

  Expenses

  $6,201,486

  Assets (EOY)

  $44,591,995

• 2013 · 990

  Revenue

  $17,385,837

  Expenses

  $6,554,589

  Assets (EOY)

  $44,298,166

• 2012 · 990

  Revenue

  — not reported

  Expenses

  $4,537,685

  Assets (EOY)

  $33,308,860

Nonprofiteer parses Forms 990, 990-EZ and 990-PF, in a window of recent tax years. These returns are recorded from the IRS e-file index, so their figures were extracted by that index rather than read from the return here — treat them as a different source from the filings above, not as more of the same record. A dash means the index carries no figure; Form 990-T listings carry none at all. Showing the 10 most recent; the API carries the rest.

Grants made

No itemized grants to organizations. Schedule I is filed only by organizations that granted more than $5,000 to a recipient, so most filers have none.

Grants received

• THE NEW YORK COMMUNITY TRUST

  $251,000

  2023 · FOR PROGRAM SUPPORT.

• THE AYCO CHARITABLE FOUNDATION

  $225,000

  2022 · ARTS AND CULTURE

• THE AYCO CHARITABLE FOUNDATION

  $160,000

  2023 · ARTS AND CULTURE

• THE AYCO CHARITABLE FOUNDATION

  $155,000

  2024 · ARTS AND CULTURE

• TIDES FOUNDATION

  $108,000

  2022 · HEALTHY INDIVIDUALS AND COMMUNITIES

• TIDES FOUNDATION

  $100,000

  2024 · HEALTHY INDIVIDUALS AND COMMUNITIES

• TIDES FOUNDATION

  $100,000

  2023 · HEALTHY INDIVIDUALS AND COMMUNITIES

• ROCKEFELLER PHILANTHROPY ADVISORS INC

  $60,000

  2022 · GENERAL

• VANGUARD CHARITABLE ENDOWMENT PROGRAM

  $47,200

  2023 · FOR RECIPIENT'S EXEMPT PURPOSE

• FIDELITY INVESTMENTS CHARITABLE GIFT FUND

  $28,150

  2024 · For grant recipient's exempt purposes

The 10 largest by cash amount. The API serves every itemized grant.

Related organizations

From Schedule R Part II, where a filer lists the tax-exempt organizations it is related to by control. It does not record shared board members or money.

Other IRS files