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Call it the new Harlem rebirth. On New York City's 125th St, where a sculpture of Adam Clayton Powell Jr marches forward, the area is filled with bustle and buzz.

A Community in Transformation

The famous Apollo Theatre is in the middle of major renovations. The National Black Theatre is set to relocate into an $80M cultural center covering a entire block. Additionally, the National Urban League recently opened a $250M facility containing its headquarters, affordable housing and retail space.

“This structure declares to the world: Harlem is important; Black art is significant; Black institutions are crucial,” remarked the leader of the board of trustees. “It will serve as a lighthouse on 125th Street, a place where art and people converge.”

Historical Roots

This institution was established by artists, advocates, donors and local residents to confront the widespread omission of Black artists from established museums. It opened in a rented loft above an off-licence in 1968, a traumatic year of assassinations, uprisings and societal transformation.

“This occasion resembles what it must have felt like when it all started,” reflected a institutional representative. “The museum was born in a time of change. The country was divided. People were marching. Artists were demanding to be recognized.”

Building Design

The new $160M facility covers 82,000 square feet across seven levels. Created by design teams, the building constitutes the first custom-designed home for the museum and almost doubles its gallery and activity areas.

The building features exhibition spaces, an expansive lobby, adaptable event areas, a specialized learning studio, a cafe and retail store, plus a open-air deck with panoramic city views. An impressive staircase, finished with terrazzo, fills the main atrium space.

Notable Artworks

The inaugural programming reflects the museum's past, present and future with several key shows. One exhibition features the initial comprehensive retrospective of innovative creator Tom Lloyd, whose electronic light sculptures appeared in the institution's first show.

• William T Williams's 1969 abstract Trane pays homage to John Coltrane
• Another prominent artist's iconic work confronts lack of representation and Black representation
• Jean-Michel Basquiat's Bayou features vigorous marks and fragments of collage
• Faith Ringgold's initial narrative textile captures her neighborhood in both joyful and elegiac tones

Broader Impact

The institution's opening feels particularly significant during a period when inclusion programs, museums and the way African American history is told face growing challenges. The city has just chosen a mayor who personifies the city's cultural diversity, and Harlem has a special ability for making renaissance resemble resistance.

“This community has constantly transformed,” observed a senior leader. “It's a district that has been evolving since it was established. But this area has also been a neighbourhood where African American culture has flourished.”

The museum celebrates its influential artist-in-residence programme with an former residents exhibition including prominent figures such as Kehinde Wiley, mixed-media artist and Titus Kaphar. The display combines new commissions with historical pieces spanning various periods.

Future Legacy

Including new commissions are sonic installations and sculptural pieces. Metal containers created by sculptor Houston Conwill contain private statements by prominent African American figures, originally buried in the museum's sculpture garden in 1984 and now exhibited with plans to be unveiled in the year 2034.

Visitors can explore an historical display of images and memorabilia documenting the museum's history through its shows, programs and programmes over almost sixty years. This extensive legacy includes notable occasions ranging from dignitary appearances to community performances that together illustrate the museum's lasting influence.