We're very interested in Indian contemporary art: Met Director Max Hollein

Support for Indian art at the Met is diverse, it comes not only from India but also from the US and beyond, says Hollein

As the CEO and director of the Metropolitan Museum of Art (the Met) in New York, Max Hollein leads one of the world’s most influential cultural institutions, overseeing a vast collection of 1.5 million objects spanning centuries and civilisations. In this virtual interview with Veenu Sandhu, he discusses the Met’s commitment to Indian art, the evolving discourse on cultural heritage and repatriation, and the museum’s growing engagement with Indian collectors and patrons. Edited excerpts:

 

The Met has a storied history of showcasing diverse cultural artefacts and artworks. How do you balance curating iconic Western works while ensuring representation of non-Western art, particularly from regions like South Asia, specifically India?

 

The Met was founded over 150 years ago with the vision of being a truly global institution in terms of what it exhibits and represents. From the very beginning, we have pursued this goal. The Met is neither the national gallery of the United States nor an institution focused solely on American art. Instead, we aim to showcase the cultures of the world and explore their connections. 

Photo by Filip Wolak

 

Indian art and culture play a significant role in this broader narrative. We deeply appreciate the outstanding artistic achievements from India, from the earliest periods to the present. Our commitment to celebrating Indian art is reflected in major exhibitions, such as our recent "Tree & Serpent" exhibition on early Buddhist art in India, as well as our permanent galleries, which feature a strong and important collection of Indian art, including contemporary works.

 

How was your recent visit to India? You travelled to Jaipur and other locations — was the trip primarily for the Jaipur Literature Festival, or was there a larger purpose?

 

We have multiple deep-rooted connections with India that go beyond any single event. Our engagement stems not only from a deep understanding and appreciation of Indian art but also from our collaborations with Indian institutions, scholars, ministries, and supporters.

 

I travel to India at least once a year, and these visits serve multiple purposes. They strengthen our partnerships and help us foster deeper collaborations. We have several major exhibitions in planning that will celebrate Indian art at the Met. My visits also allow me to gain a broader understanding of India, both contemporary and classical, by exploring artist studios, collectors, museums, and cultural institutions.

 

Furthermore, we have a number of initiatives aimed at supporting cultural exchange. For instance, we recently concluded a long-term fellowship programme for Indian conservators, providing them with training opportunities. Last year, we signed a memorandum of understanding with the Indian cultural ministry to expand future collaborations.

 

These efforts help us find different ways in which we can foster greater cultural exchange and create more programming at the Met to celebrate Indian art, and also how we can collect contemporary and classical Indian art to be part of the broad story the Met provides. My visits are triggered by a deep respect and genuine interest in Indian art and culture. I want to be an active participant — seeing, listening, learning, and sharing what we are doing. Speaking at the Jaipur Literature Festival was just one of many opportunities to engage in meaningful dialogue with our colleagues, partners, donors, and collectors.

 

Have you seen an increase in Indian partners, donors, and collectors engaging with the Met? Institutions in Europe and America often have a strong tradition of philanthropic support, whereas India is still developing in this regard. Have you observed a shift?

 

Absolutely. In India, there is a well-established public infrastructure of major museums, such as the National Gallery of Modern Art in New Delhi and the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai. However, we are also seeing a lot of private initiatives coming to the fore

 

For instance, the Ambani family's new cultural centre in Mumbai, the Jindal family’s Hampi Art Labs, which I visited, and Tasneem Zakaria Mehta’s renovation of the Dr Bhau Daji Lad Museum (Mumbai), and of course Kiran Nadar’s institution in Delhi are all exciting developments. These initiatives showcase how private collectors and individuals are improving and expanding the art infrastructure in India.

 

This expansion benefits not just India but also institutions like the Met, as it creates more opportunities for collaboration, knowledge-sharing, and partnerships. We are eager to be part of this evolving landscape — not just as observers but as active partners—contributing to meaningful conversations and cultural exchanges that benefit both India and the global art community.

 

You have led prominent museums in Europe and the US. How has your business background and global experience shaped your leadership approach at the Met?

 

I hold two master’s degrees — one in art history and one in business administration. As a director, my primary focus is always on art, culture, programming, and the representation and presentation of the objects in our care. However, it is also crucial to have a strong sense of the administrative complexities, economic realities, and financial challenges of running an institution like the Met.

 

We operate with over 2,000 employees, an operating budget of approximately $350 million, and an endowment of about $4.5 billion. Managing acquisitions, fundraising, and operational logistics is a substantial responsibility. It is essential to create an institutional infrastructure that can handle these complexities effectively.  

 

We welcome over six million visitors a year, which presents significant logistical challenges. Running the Met is not like running a typical business — our focus is not profit, but rather sharing art with as many people as possible. Our mission is to ensure accessibility, both physically and digitally. We are very good at spending money, but we also have to be good at managing our resources transparently and effectively. While we are not a for-profit institution, we must be excellent stewards of the funds we receive, ensuring they are used wisely to support our mission.

 

Technology has taken centre stage, particularly after Covid. How is the Met leveraging digital tools, artificial intelligence (AI), and immersive experiences to make art more accessible? Are there any initiatives aimed at engaging younger audiences?

 

I want to clarify that digital engagement is not just for younger audiences — it spans all generations. During Covid, we all adapted to digital platforms, whether through Zoom or other virtual experiences. The Met has always had a robust digital presence through its website, social media, and online educational initiatives. However, the past few years have opened up new opportunities for expansion.

 

We have of course introduced several new programmes, including audio and video-driven content. Just last week, we launched our first NFT-based game that engages users with our collection, allowing them to learn and interact while minting digital tokens. This represents a positive use of gamification of education to engage with our audience in a positive way.

 

AI plays a significant role in our efforts. We are creating augmented reality manifestations of some of our objects to show how they looked in the past — such as how the ‘Temple of Dendur’, the biggest object in the Met’s collection, initially was totally coloured and not just a white sandstone temple. These tools allow us to also explore the multiple layers of an artwork’s history and evolution. AI and blockchain technology are now key drivers in both our internal processes and audience engagement strategies.

 

AI is a topic of much debate in the art world. Do you see it as a challenge, or is it being accepted as a new form of artistic expression?

 

AI is certainly a challenge – first of all, to our own perception and the question of authenticity, and the human input. We can have a very philosophical conversation about it, and also a very practical conversation about it. However, we both will agree that AI is not only here to stay, but is also opening up the next phase in our very existence. 

 

So, art and artists will react to that. It will become part of an artistic toolbox. It will not make painting or photography disappear, but it will expand the possibilities of artistic ideas and imagination. Yes, there will be artworks that will challenge the question of authorship. But you will also see creative expressions through AI – say, an artwork that continuously changes in time, perhaps by the sheer fact that you are in the room. 

 

I see the importance of engaging with it. I also see the impossibility of not engaging with it. AI will expand artistic output, but it will come with challenges – as was the case when photography, and later the internet, came about. There will, of course, also be legal responses to it, such as copyright or authorship. But then again, that’s the story of modern art. When Marcel Duchamp put a bicycle wheel on a pedestal (Bicycle Wheel, 1913) and said this was his work of art, there was already a moment in the early 20th century when the question of authorship and artistic creativity was challenged.

 

Many Indian antiquities and artworks are part of international collections, including The Met. What is your perspective on the global custodianship of cultural heritage versus the ongoing debate on repatriation, particularly with countries like India?

 

I am a strong believer and advocate for the idea of the encyclopedic or universal museum mission. Museums should serve as places where the arts and cultures of the world are in dialogue, allowing people to learn about different places, cultures and societies. Our world would be a much poorer place if every artwork were confined strictly to its place of origin.

 

The history of art is a history of movement. Objects have travelled across the world for centuries – say, from the Silk Road to European collections and vice-versa. This exchange is fundamental to our shared cultural heritage, and essential for the understanding of human evolution and cultural evolution. The Met has a substantial collection of Indian art that we are custodians of, that we carefully preserve, research, publish, and make accessible to the public in many different ways. We will continue to do so and will continue to collect.

 

That said, anything that has left India illegally, and if we determine that we should not legally own it, we will return. We have already returned several objects to India and are continuously researching provenance. Often, the Met is not the first acquirer of a work. Many objects pass through multiple collectors, auction houses, and institutions before they arrive at the museum as gifts. We are committed to carefully examining the provenance of such pieces and maintaining transparency in our collection practices.

 

Our entire collection is almost entirely available online, making provenance information accessible to the public. The only exceptions are works like prints, where research can be particularly complex. Given that we have about 1.5 million objects, our commitment to transparency and accessibility remains a priority.

 

The Met's collection continues to grow. How does the acquisition process work? Does it mainly happen through philanthropic efforts, such as collectors donating artworks?

 

We acquire works in multiple ways. The majority of our acquisitions come as gifts from collectors — both in the US and from India. Many collectors wish to ensure that their artworks are shared with the public within the broader context of a museum dedicated to global art.

 

Additionally, we have a robust acquisition fund. A portion of our $4.5 billion endowment is dedicated to acquisitions. About one-third of the endowment is restricted to acquisitions, meaning that approximately 5 per cent of a third of $4.5 billion is available for acquiring works each year. This amounts to around $40 to $50 million annually for acquisitions, independent of donated works. 

Photo by Brett Beyer

 

Beyond these financial resources, we actively cultivate relationships with collectors and identify artworks that would be valuable additions to the Met’s collection. We are very strategic about it. So often these gifts don't just happen out of the blue as a surprise. They are a result of a long-lasting relationship. We are, of course, a very active participant in the market, acquiring both contemporary and historical pieces. We are very interested in Indian contemporary art and are an active institution in that area.

 

Do you receive support from collectors in India? Where do most of the Met’s gifts come from?

 

Yes, we receive great support from India as well. Nita Ambani is a member of the Met’s Board of Trustees, and the Ambani family is a great supporter of the museum, focused on what we can do with Indian art, both contemporary and historical. Beyond that, we have other Indian donors who contribute generously to our collection and programs.

 

Support for Indian art at the Met is diverse — it comes not only from India but also from the US and beyond. There is a strong Indian expatriate community in New York, and many individuals here advocate for the inclusion of Indian art in our museum to be seen and experienced. For some, the Met serves as a cultural connection to their homeland – a home away from home. The Met's engagement with Indian art is genuine, deep, and profound, and the support for it is diverse, coming both from donors in India and also from the US. 

 

Who are your favourite artists?

 

I have many favourites! If I think about Indian artists, one who stands out is Sudhir Patwardhan. I just saw him in Delhi, and he is opening a show this week. The Met currently has one of his paintings on display. His work is deeply admired.

 

I also think Dayanita Singh’s work is absolutely fantastic. There’s Vivan Sundaram. The last major contemporary-art focused show we did, I think, was of Mrinalini Mukherjee — it was breathtaking, beautiful, and powerful. 

‘The Met's engagement with Indian art is genuine, deep, and profound’

  ‘The Ambani family is a great supporter of the Met’

'Part of our $4.5 billion endowment is dedicated to acquisitions. This amounts to around $40-50 million annually'

  ‘Working to foster greater cultural exchange and create more programming at the Met to celebrate Indian art’