This study addresses the need to further what can be achieved by collaborative projects between mainstream museums and Indigenous communities. Katsina in Hopi Life, an exhibition at the Autry National Center in 2013, is used as a case study to explore how frameworks for collaboration in museum space can be useful when informed by discussion about contemporary Indigenous issues. Interviews provide insight into the story and inter-workings of the creation of the exhibition, highlighting the relationship between frameworks and goals. To achieve Indigenous-derived goals, an exhibition requires a framework to match; however the relationship works in the other direction as well, and a limiting framework inevitably promotes less creative and productive projects. In working collaboratively on projects about Indigenous content, a more fluid approach is explored in the idea of the hybrid framework, promoting the idea that a one-size-fits-all model for collaboration with Indigenous communities is not productive, nor appropriate.

Following on the widely-read The Future of the Museum: 28 Dialogues, which explored how museums are changing through conversations with today's generation of museum directors, New York-based author and cultural strategy advisor András Szántó's new compilation turns its attention to architects. The conclusion of The Future of the Museum was that the "software" of art museums has evolved. Museum leaders are "working to make institutions more open, inclusive, experiential, culturally polyphonic, technologically savvy, attuned to the needs of their communities, and engaged in the defining issues of our time." It follows that the "hardware" of the art museum must also change. Conversations with a carefully selected group of architects survey current thinking in the field, engaging not only architects who have built some of the world's most iconic institutions, but also members of an emerging global generation that is destined to leave its mark on the museum of the future. CONVERSATION PARTNERS: Kunlé Adeyemi (NLÉ), David Adjaye (Adjaye Associates), Paula Zasnicoff Cardoso & Carlos Alberto Maciel (Arquitetos Associados), David Chipperfield (David Chipperfield Architects), Minsuk Cho (Mass Studies), Elizabeth Diller (Diller Scofidio + Renfro), Frida Escobedo, Sou Fujimoto (Sou Fujimoto Architects), Lina Ghotmeh (Lina Ghotmeh – Architecture), Bjarke Ingels (BIG | Bjarke Ingels Group), Kabage Karanja & Stella Mutegi (Cave_bureau), Li Hu & Huang Wenjing (OPEN), Jing Liu & Florian Idenburg (SO – IL), Yansong Ma (MAD Architects), Winy Maas (MVRDV), Roth – Eduardo Neira (Roth Architecture), Stephan Schütz (gmp Architekten), Kerstin Thompson (_KTA), Xu Tiantian (DnA Design and Architecture), Kulapat Yantrasast (WHY), Liam Young (SCI-Arc) ANDRÁS SZÁNTÓ (*1964, Budapest) advises museums, cultural institutions, and leading brands on cultural strategy. An author and editor, his writings have appeared in the New York Times, Artforum, the Art Newspaper, and many other publications. He has overseen the National Arts Journalism Program at Columbia University and the Global Museum Leaders Colloquium at the Metropolitan Museum of Art. Szántó, who lives in Brooklyn, has been conducting conversations with art-world leaders since the early 1990s, including as a frequent moderator of the Art Basel Conversations series.

In this interdisciplinary anthology, essays study the relationship between the imagination and images both material and mental. Through case studies on a diverse array of topics including photography, film, sports, theater, and anthropology, contributors focus on the role of the creative imagination in seeing and producing images and the imaginary.

Edited by John Elderfield. Introduction by Glenn D. Lowry.

Controversy in Science Museums focuses on exhibitions that approach sensitive or controversial topics. With a keen sense of past and current practices, Pedretti and Navas Iannini examine and re-imagine how museums and science centres can create exhibitions that embrace criticality and visitor agency. Drawing on international case studies and voices from visitors and museum professionals, as well as theoretical insights about scientific literacy and science communication, the authors explore the textured notion of controversy and the challenges and opportunities practitioners may encounter as they plan for and develop controversial science exhibitions. They assert that science museums can no longer serve as mere repositories for objects or sites for transmitting facts, but that they should also become spaces for conversations that are inclusive, critical, and socially responsible. Controversy in Science Museums provides an invaluable resource for museum professionals who are interested in creating and hosting controversial exhibitions, and for scholars and students working in the fields of museum studies, science communication, and social studies of science. Anyone wishing to engage in an examination and critique of the changing roles of science museums will find this book relevant, timely, and thought provoking.

Pragmatic Imagination and the New Museum Anthropology shifts museum anthropology’s relationship to the broader field from marginal to central by revealing the sophisticated transdisciplinary praxis (theory + practice) at the heart of current museum anthropologies. The book features international case studies that operate at the interfaces of critical museology, anthropology, material culture studies, art practice, and more. The theory of pragmatics proposes that meaning-making is collaborative and best evaluated through its impact in the world. Collectively the chapters in this volume evidence a ‘pragmatic imagination’ at work as museum anthropology practitioners ingeniously combine inventiveness (the possible) and practicality (the actual) in ways that drive the field forward. Defining museum anthropology as a pragmatic practice explicitly theorizes this work in order to mark its significance; demystify its processes of knowledge production; connect it more readily to debates within and beyond anthropology; and facilitate critique.

FROM ONE OF TODAY'S FOREMOST INNOVATION LEADERS, AN INSPIRING, PERSONAL APPROACH TO MASTERING CHANGE IN THE FACE OF UNCERTAINTY. NAMED A 2018 BEST BUSINESS BOOK PICK BY FAST COMPANY AND WIRED UK. Confronting change is incredibly hard, both organizationally and personally. People become resistant. They are afraid. Yet the pace of change in our world will never be slower than it is right now, says Beth Comstock, the former Vice Chair and head of marketing and innovation at GE. Imagine It Forward is an inspiring, fresh, candid, and deeply personal book about how to grapple with the challenges to change we face every day. It is a different kind of narrative, a big picture book that combines Comstock’s personal story in leading change with vital lessons on overcoming the inevitable roadblocks. One of the most successful women in business, Comstock shares her own transformation story from introverted publicist to GE’s first woman Vice Chair, and her hard-won lessons in shifting GE, a 125 year old American institution, toward a new digital future and a more innovative culture. As the woman who initiated GE's Ecomagination clean-energy and its (and NBC’s) digital transformations, Comstock challenged a global organization to not wait for perfection, but to seek out emerging trends, embrace smart risks and test ideas boldly, and often. She shows how each one of us can become a “change maker” by leading with imagination. “Ideas are rarely the problem,” writes Comstock. “What holds all of us back, really—is fear. It’s the attachment to the old, to ‘What We Know.’” As Comstock makes clear, transforming the mindset and culture of a company is messy. There is no easy checklist. It is fraught with uncertainty, tension and too often failure. It calls for the courage to defy convention, go around corporate gatekeepers when necessary, and reinvent what is possible. For all those looking to spearhead change in their companies and careers, and reinvent “the way things are done,” Imagine It Forward masterfully points the way.