Brooklyn Museum

The museum's origins date to August 1823, when it was founded as the Brooklyn Institute of Arts and Sciences. In February 1889, prominent citizens announced fundraising for a new museum building. The current structure's construction began in 1893 and was largely completed by 1897, though the project faced significant delays and funding shortages throughout the early 20th century.

Construction stalled in 1928, leaving the building unfinished with only 28 of the proposed 80 statues installed on the facade. The museum has undergone various renovations and name changes, including a major master plan in 1986 and a reopening of the Great Hall in 2011.

Designed in the Beaux-Arts style by architect Richard Morris Hunt, the museum is a steel frame structure clad in masonry. The original design proposed a structure four times the size of what was eventually built between 1893 and 1927. The Eastern Parkway facade features a central pavilion and wings divided by pilasters, topped by 20 monolithic figures on the cornice.

The building's eastern elevation faces Washington Avenue, where only the northern pavilion was constructed. The main lobby, originally intended as a ground-level auditorium, was later rebuilt as a modern-style space in the mid-20th century.

The museum holds an astounding collection of more than 140,000 objects. Significant areas include antiquities, particularly its renowned Egyptian collection, and the Arts of Africa, which includes over 6,000 objects and was one of the first U.S. institutions to exhibit African cast-metal works as art in 1923. The American art collection features works by major artists and includes period rooms.

A unique highlight is 'The Dinner Party' by Judy Chicago, housed in the Elizabeth A. Sackler Center for Feminist Art, the only feminist art center of its kind. The museum also maintains extensive holdings in Asian, Islamic, and Assyrian art.

As a trailblazer for 200 years, the Brooklyn Museum is significant for its early adoption of exhibiting non-Western art as fine art rather than ethnological artifacts. It has been a site of social and political discourse, notably facing demands in 1967 to exhibit more works by African American artists and hosting controversial exhibitions that sparked national dialogue. The museum is deeply committed to its relationship with the Brooklyn community, offering free evening programming and serving as a space for diverse voices.

It stands on the unceded ancestral homeland of the Lenape people and actively works to address historical exclusions and foster belonging.