2026 Summer
Contents
02 2026 Summer
toledomuseum.org
Art Matters Staff Editor-in-Chief Despi Mayes Director of Marketing and Communications Managing Editor and Writer Elizabeth Hoerner Marketing Content Strategist Production Manager Taylor Yarborough Marketing Operations Manager Contributors
Jennifer McCary Chief People, Culture and Brand Experience Officer
Julie McMaster Manager of Library and Archives Services/Archivist Vanessa Applebaum Director of Conservation Katie Shelley Conda Family Manager of Access Initiatives
Willow Gritzmaker Curatorial Research Associate of American Art
Lorrie Wehr Freelance Writer
© 2026 Toledo Museum of Art All rights reserved.
08 The Bowe Family Center — An Investment in Community and the Future
Reimagining the Family Center for the next generation.
10 125 Years of Art, Community and Public Trust A milestone moment reflecting on 125 years of access, impact and the public trust that built TMA.
16 Sharing Art, Safely: How TMA Is Rethinking Risk to Expand Access
Expanding access while safeguarding art for future generations.
Discover 22 Sensory Kits Foster Belonging in the Museum Space Small tools, big impact — sensory kits are reshaping how visitors experience the Museum.
24 Behind the Scenes: Reimagining Our Galleries
Inside the reinstallation reshaping how visitors experience art.
30 Art on the Move
TMA’s collection travels, connecting with audiences beyond Toledo.
32 A Closer Look: A Tale Across Time
Two works, centuries apart, reveal an unexpected cross-cultural conversation.
Experience
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Design Isabella Cordell Graphic Designer
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Paige Rozanski Associate Curator of Modern & Contemporary Art
Reflecting on momentum, mission and art’s power to connect.
Toledo Museum of Art
Toledo Museum of Art 2445 Monroe Street Toledo, Ohio USA 43620 +1 419 255 8000
From the Director’s Desk
36 Losing Ourselves Together: The Art of Bobby Anspach An immersive exhibition exploring perception, connection and shared experience.
42 On View & Upcoming
7M / JUL 2026
See what exciting exhibitions and programs await you at TMA.
44 Sanda Findlay Collector's Corner
Fawn Denbow's neon artworks illuminate craft, science and contemporary expression.
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Art Matters
Director's Letter
From the Director’s Desk
Reflecting on Momentum, Mission and Art’s Power to Connect Toledo Museum of Art
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ith the celebration of our nation’s 250th birthday, I find myself reflecting on the quiet
That spirit of access and innovation runs throughout this issue. You will read about the ongoing reinstallation of our galleries — a complex,
a moment of wonder, sometimes as a place of respite,
behind‑the‑scenes effort that asks big questions
and often as a catalyst for connection. This issue
about how stories are told, whose voices are
of Art Matters captures that full spectrum. It is an
centered, and how a collection can remain both
edition rooted in both momentum and memory, and
timeless and responsive. The reinstallation is not
one that speaks directly to why the Toledo Museum
simply about moving objects; it is about renewing
of Art exists: to integrate art into the lives of people.
our commitment to relevance, rigor and trust as
Before turning the page, I want to pause and
stewards of a collection held for the public trust.
reflect on a moment of collective pride. This year, the
You will also encounter stories that underscore how intentional generosity fuels meaningful visitor
Museum in the United States in USA Today’s 10Best
experiences. The newly renamed Bowe Family Center
competition — for the second year in a row — and,
is one such example. While the gift that made this
for the first time, Best Free Museum in the country.
possible supports general operations and other capital
These honors are deeply meaningful not because of
expenses, its impact is tangible: better materials,
the accolades themselves, but because they reflect
refreshed equipment, and — most importantly —
what our community values: excellence, access and a
the consistent presence of trained educators who
belief that great art should be available to everyone.
create welcoming, creative spaces for children and
They are a testament to our staff, volunteers,
caregivers. This is what operating support does at
donors and visitors, as well as a shared culture of
its best — it keeps the Museum vibrant, flexible
belonging that continues to define this institution.
and responsive to the evolving needs of families.
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Toledo Museum of Art (TMA) was named Best Art
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but powerful ways art shows up for us — sometimes as
Left: Two young visitors enjoy an event at the Toledo Museum of Art.
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Director's Letter
Beyond our semiquincentennial, this summer
Thank you for being part of that journey. Whether
also marks a milestone moment in our institutional
you are a longtime supporter or a first‑time reader, I
history. For 125 years, the Toledo Museum of Art
hope these pages offer insight, inspiration and a sense
has been integrating art into the lives of people
of belonging. I look forward to welcoming you to the
across generations. A special section devoted to
Museum this summer and to continuing the work of
this anniversary is both celebratory and reflective,
integrating art into the lives of people — together.
featuring highlights from the collection, glimpses into past exhibitions and events, and a look at the leadership that has guided the Museum through periods of change and growth. As someone honored to be part of that continuum, I am keenly aware that our future is strongest when it is informed by our past. Innovation — another core value — takes center stage in our exploration of a pioneering conservation risk model being developed by our team. This work exemplifies a holistic approach to enterprise risk that introduces mission fulfillment alongside long-term stewardship. By rethinking how we assess and manage risk, we are not only protecting works of art today but also contributing new ideas to the museum field at large. You will also find moments of delight and discovery: artworks traveling beyond Toledo to
Art Matters
connect with new audiences, opportunities to take a closer look at objects in our care, and glimpses into the creative energy of the Glass Pavilion’s
With gratitude,
Hot Shop. These stories reinforce something I
Adam Levine
believe deeply — that museums are not static
Edward Drummond and Florence Scott
places. They are living systems, animated by
Libbey President, Director and CEO
people, ideas and shared experiences. Taken together, this issue of Art Matters reflects an institution in motion — grounded in community, committed to excellence and unafraid to imagine what’s next. The national recognition we’ve received this year is encouraging, but it is not the finish line. It is a reminder of what is possible when we align our mission with action and when we invite our community to shape the journey with us. 4
Right: A child explores their creative side while coloring on an easel in the Bowe Family Center.
Toledo Museum of Art
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Think Art Matters
Care in Every Movement
In the Great Gallery, the early stages of deinstallation offer a behind-the-scenes look at the care guiding TMA’s Reimagining Our Galleries project. With artworks carefully removed, the space reveals the tools and infrastructure that support this transition — lifts, cases and equipment positioned for the work ahead. Though the gallery appears quiet, this moment reflects the coordinated efforts of conservators, preparators, art handlers and project specialists, all working with precision and respect for the collection and its setting. As change takes shape, this deliberate process ensures both the art and the gallery are thoughtfully prepared for what comes next. 6
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Think Art Matters 8
The Bowe Family Center An Investment in Community and the Future
Left: Two children show their works-in-progress during a visit to the Bowe Family Center.
While the Bowe family’s gift is designated for general operating support, visiting families will experience it in tangible ways, from refreshed art supplies and equipment to the consistent presence of trained educators — all in an environment that adults alike. This fundamental support ensures the
The Family Center at the Toledo Museum of Art is becoming the Bowe Family Center, in recognition of an extraordinary gift from Museum patrons Pat and MaryLouise Bowe.
Center will remain vibrant and flexible, equipped to provide families high-quality, year-round programming and hands-on art experiences. The impact of the Bowe Family Center extends beyond its physical space as well. Community outreach is key to the Center’s ability to connect with families who otherwise might not be aware of the Center or the Museum, and the Bowe family gift means these important connections to our
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community will continue to grow and enrich the
Board of Directors. With this gift, the Bowe family
have included family-friendly activities for new
significantly expands their support of the Museum.
exhibits and events; visits and projects with local
he Bowe family is well known in Toledo for their generous support of the arts, and Pat
Bowe currently serves as Vice Chair of the TMA
The transformation of the Family Center into the Bowe Family Center reflects a meaningful investment in a rare resource for the Toledo community. For decades, TMA’s Family Center has provided local families with a universally accessible arts learning space for young children
lives of Toledo’s children and their families. In recent years, Family Center outreach programs
preschools; professional development workshops for preschool teachers; summer camp visits to TMA; and program partnerships with Toledo Public Schools, Toledo Lucas County Public Libraries, Junior Achievement and more. Time and again, the Bowe Family Center serves as a critical first point of contact with the Museum.
charge to everyone, not just Museum members.
Often, the Center is where children first have a
space, specially designed for early childhood development, and here families will find not only art supplies but the guidance and support of a knowledgeable and experienced staff. While the staff develops weekly activities related to the Museum’s collection and current exhibitions, children are encouraged to create and explore freely. They
with young children that has not yet had an opportunity to visit a museum, the Center is a place of encouragement and an invitation to explore
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arts education. Art plays a vital role in a child’s
sense they belong in an arts space. For a family
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and their adult caregivers — available free of The Center is an inclusive, inviting and interactive
Toledo Museum of Art
is welcoming and productive for children and
the rest of the Museum. With every subsequent visit, the Museum has another opportunity to become an increasingly vital part of family life and a pathway to shared creativity and growth. The Bowe family’s generosity is key in achieving
develop fundamental skills, make memories and lay
the Museum’s mission to integrate art into the lives of
the groundwork for a future enriched by curiosity
people. The unique energy of the Bowe Family Center
and creativity. And they begin to form a connection
demonstrates the power of giving and its impact on
with the Museum, opening doors to a lifetime of
an entire community — beginning with the youngest
creativity, driven by curiosity and community bonds.
among us and growing toward future generations. 9
Think Art Matters 10
125
Years of Art, Community and Public Trust
Left: An aerial view of the Green Building plaza and part of TMA's Georgia and David K. Welles Sculpture Garden.
Toledo Museum of Art
Written by Jennifer McCary, Chief People, Culture and Brand Experience Officer Julie McMaster, Manager of Library and Archives Services/Archivist
I
n 1901, Edward Drummond Libbey and Florence Scott Libbey, alongside a dedicated
group of philanthropists, shared a vision: art should be accessible to all and embedded in the community. From this belief, the Toledo Museum of Art was born. Over the past 125 years, what began as a modest institution has transformed into one of the nation’s most respected and inclusive art museums, celebrated for its exceptional collection, architecturally significant From its inception, the Museum has been shaped and excellence. The Libbeys understood art
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by principles of education, civic responsibility
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campus and commitment to public service.
not as a luxury, but as a vital public good — a principle that continues to guide TMA today. For 125 years, the Toledo Museum of Art has served as a place where people from diverse backgrounds can encounter beauty, ask questions and see themselves as part of a larger human narrative. As we mark this quasquicentennial year, we reflect not only on the Museum’s past but also on its growth, evolution and commitment to stewarding its mission for future generations. 11
Think Above: The Georgia and David K. Welles Sculpture Garden serves as a welcoming space for creative exploration. Josiah McElheny (American, born 1966), Moon Mirror. 2019. Pressed colored prismatic glass, stainless steel, hardware. 103 x 191 1/2 x 71 in. Gift of The Georgia Welles Apollo Society.
A Collection Built on Intentionality
art is understood. Over time, the Museum has
Museum’s growth is its collection. Over the years,
and global contexts. This evolution reflects a
TMA has assembled a world-class collection
living institution that listens, learns and adapts
spanning centuries, cultures and artistic traditions.
while remaining grounded in its core values.
Art Matters
One of the most enduring measures of the
Each acquisition reflects intentionality and care,
In celebration of the 125th anniversary, TMA is
shaped by curators, donors, artists and community
highlighting moments of collection growth through
members who recognized the importance of
special programs and interpretive experiences. These
building a collection for public benefit.
initiatives invite visitors to consider not only what
The collection did not grow by accident. It
was collected but also why it mattered then and why
expanded through early foresight, scholarly rigor
it continues to matter now. Together, the collection
and a profound respect for artistic excellence.
tells a story of continuity, care and belief in the power
From European painting and sculpture to
of art to connect people across time and place.
ancient works, modern and contemporary art, and a globally renowned glass collection, the Museum has consistently balanced historical depth with evolving perspectives. Through its strategic objective to broaden the
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deepened its commitment to inclusive narratives
A Campus That Reflects Growth and Purpose
As the collection of over 30,000 artworks has
expanded, so too has the Museum’s physical footprint.
narrative of art history and its interpretation, the
What began with a single building has transformed
collection has evolved alongside changing ideas
into a thoughtfully integrated environment for art,
about whose stories are represented and how
architecture, education and community gathering.
Toledo Museum of Art
Above: A new sculpture celebrating the Toledo Museum of Art's 125th anniversary is displayed in the Rita B. Kern Sensory Garden.
The campus now includes architecturally
Peristyle Theater: Part of the Museum’s 1933
significant buildings and gardens, each
expansion, this classical concert hall was also
serving a unique purpose:
designed by architect Edward B. Green.
Edward B. Green and Harry W. Wachter, this
constructed in 1939 to house medical offices,
building features 16 columns, a copper roof and
this building has had various uses and is now
a frieze of acanthus leaves. It has undergone four
home to the American Numismatic Society,
renovations and is currently experiencing its
which is relocating from New York City.
most comprehensive reinstallation since 1933.
Woodruff Conference Center: This center hosts
The Glass Pavilion: Designed by Kazuyo
studio art classes, including sculpture, jewelry-
Sejima and Ryue Nishizawa of SANAA, this
making, blacksmithing and artistic welding.
structure showcases extraordinary use of glass. Its exterior is primarily glass with
Georgia and David K. Welles Sculpture Garden: This garden displays over 25
interior steel supports, reflecting the firm’s
exceptional artworks, integrated beautifully into
award-winning architectural style.
the landscape and accessible to the public 24/7.
Center for the Visual Arts (CVA): Completed
Rita B. Kern Sensory Garden: A peaceful retreat
in 1992 by Frank O. Gehry, this boldly
on campus that hosts programs and events,
sculptural building features a V-shaped plan
including the Annual Glass Harvest event.
that angles toward Monroe Street. It houses the University of Toledo’s Department of Art
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Professional Arts Building: Originally
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The Edward B. Green Building: Designed by
Each addition to the campus reflects a commitment to design excellence and accessibility.
and the Museum’s Reference Library.
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Art Matters
Think
Left: The Rita B. Kern Sensory Garden served as the setting of TMA's Art Walk highlighting works of art that were collected throughout the Museum's 125 year history.
Throughout this period, the Museum invites
culture of belonging. With this in mind, the Museum
the community to engage with its history,
has evolved its spaces over the years to support
collection and ongoing work through public
learning, scholarship and creative practice. The Glass
programs, tours, lectures and creative experiences
Pavilion, for instance, serves as a global center for
across the campus. These moments honor the
glass art, uniting gallery spaces, artist studios and
people and ideas that shaped the Museum while
public demonstrations in an inviting environment.
reaffirming its mission in the present. They
Importantly, the campus has expanded not just in size but in purpose. It is a gathering place for lectures, tours, performances and
reflect the belief that anniversaries are about gratitude, continuity and shared stewardship. The values that have guided the Toledo Museum
celebrations. It’s where students first encounter
of Art for over a century remain as relevant
art and where lifelong learners return repeatedly.
today as they were in 1901. Access, education,
The campus embodies TMA’s role as a civic
excellence and belief in the transformative power
space belonging to the community it serves.
of art continue to shape the institution’s work. Anniversaries invite us to pause but also
Celebrating 125 Years Together
prompt us to imagine what comes next. As TMA
day or event; it spans the spring and summer as a
and confidence, grounded in its history and
season of reflection and celebration. All anniversary
energized by future possibilities. The Museum
programs are made possible by the Rita B. Kern
remains committed to being a cultural and
Foundation, the sole sponsor of the celebrations.
educational resource, a space of beauty and
A central location for these festivities is the Rita B.
inquiry, and a steward of art for the public good.
The 125th anniversary is not confined to a single
in celebration of its 125th anniversary, the Toledo Museum of Art released a special feature highlighting 125 acquisitions that mark moments in the Museum’s history. Together, these works tell the story of a growing institution — one shaped by vision,
As we celebrate 125 years, we express deep gratitude to the generations of artists, donors, staff, trustees
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sculptural bench and an Art Walk. Additionally,
enters its next chapter, it does so with humility
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Kern Sensory Garden, featuring a newly installed
Toledo Museum of Art
A central part of TMA's vision is to maintain a
and community members who have shaped this institution. Together, they have built more than a museum; they have sustained a living civic treasure that continues to enrich lives in Toledo and beyond.
generosity and a lasting commitment to public trust. Visitors can explore works highlighting the Museum’s 125 acquisitions at toledomuseum.org/125.
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Sharing Art, Safely How TMA Is Rethinking Risk to Expand Access Written by
Adam Levine, Edward Drummond and Florence Scott Libbey President, Director and CEO Vanessa Applebaum, Director of Conservation
T
he Toledo Museum of Art’s mission centers on connecting people with art in meaningful,
memorable ways. Behind every artwork on display,
community partnerships and evolving visitor
and every loan that travels across the country,
expectations all call for a more flexible approach. The
careful decisions are made to ensure that these
goal is not to take more risks, but to understand them
objects remain safe for future generations while
more clearly and manage them more responsibly.
still reaching the audiences they deserve. A new approach to those decisions is emerging at TMA. Developed by Dr. Adam Levine,
Art Matters
Today, TMA is experiencing a moment of transformation. Construction, touring exhibitions,
A Clearer Way to Understand Risk The model created by Levine and Applebaum
Edward Drummond and Florence Scott Libbey
begins with a simple idea: not all risks are equal.
President, Director and CEO, and Vanessa
Instead of asking whether risk exists — which it
Applebaum, Director of Conservation, the
always does — the model considers what kind of
model reexamines how museums assess risk
risk is present and whether it can be managed.
and how that assessment can support broader public benefit. The result is a more transparent, thoughtful way to balance care with access.
Why Rethink Risk?
For decades, museums relied on strict defaults
meant to eliminate almost all risk — narrow
It does this by breaking down key questions: •
How likely is damage?
•
If damage occurs, is it reversible?
•
What public benefit comes from sharing the artwork — expanded reach, community impact, or new educational opportunities?
environmental targets, extremely low lighting and automatic restrictions on loans. These rules were designed with good intentions but often proved limiting, especially as conservation science advanced and as museums sought to reach wider audiences. 16
Right: Paintings from TMA's collection are carefully prepared to depart to The Museo Santa Caterina in Teviso, Italy, for the temporary exhibition From Picasso to Van Gogh: Stories of Painting from Abstraction to Impressionism. Image courtesy of Vanessa Applebaum.
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Think Art Matters
“Risk management is a bridge that can help us navigate these competing demands with intention. I also view it as a way to reassure our community and our staff that the decisions we’re making are well informed and aren’t going against the best interests of our collection and our institution.”
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Vanessa Applebaum, Director of Conservation
Toledo Museum of Art
Above: A conservator at The Museo Santa Caterina in Teviso, Italy, undertakes a condition check on a painting that has arrived for the temporary exhibition From Picasso to Van Gogh: Stories of Painting from Abstraction to Impressionism. Image courtesy of Vanessa Applebaum.
This framework turns vague concerns into clear, comparable considerations. It does not
Access With Guardrails
This guiding idea shapes the model’s purpose.
reduce art to numbers but helps guide decisions
Access with guardrails recognizes that every artwork
with consistency, transparency and shared
changes over time and that conservation aims to
understanding across Museum departments.
slow those changes — not prevent them entirely,
A recent loan request offered a chance to test the
The approach supports access while honoring the responsibility of long-term stewardship. By making risk understandable and manageable,
conditions fell outside TMA’s typical operating
TMA can expand opportunities for audiences,
zone, prompting initial concern. Yet, when
build stronger institutional partnerships, and
examined through the updated model, the risk
steward resources wisely — all while ensuring
proved manageable — especially with additional
the safety of the artworks entrusted to its care.
protections such as microclimate framing, environmental sensors and rigorous documentation. Just as importantly, the beneficial impact of sharing
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new approach. The partner institution’s climate
and not at the expense of community impact. Summer
How the Model Works in Practice
This evolving model represents a meaningful shift, positioning TMA as a leader in thoughtful, community‑centered museum practices. It
the paintings became visible. The loan would reach
reinforces a simple truth: art has the power to
audiences who may never stand in TMA’s galleries
reach people everywhere, and, with the right tools,
yet still find inspiration and connection through the
sharing it can be both safe and transformative.
Museum’s collection.
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Art Matters
Where Ideas Take Shape
In a quiet moment of making, hands shape paper into something new. At TMA, classes have invited curiosity and creative discovery for 125 years, offering space for learners of all ages to experiment and explore. Each cut, layer and composition reflects more than technique; it reveals imagination at work, confidence taking root and the joy of creating something that did not exist before. Since the Museum’s earliest days, art classes have been part of TMA’s DNA — connecting people to art, to one another and to their own capacity to make meaning. What starts with simple materials can open into something much bigger: wonder, self-expression and the spark of seeing the world differently. Toledo Museum of Art Summer 2026 21
Discover
Sensory Kits Foster Belonging in the Museum Space Written by
Katie Shelley, Conda Family Manager of Access Initiatives
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he vision of the Toledo Museum of Art is
Therefore, I knew we could potentially exclude a
to become the model art museum in the
significant portion of our visitors if we did not also
United States for its commitment to quality and
prioritize improved sensory-friendly initiatives
its culture of belonging. As I approach five years
alongside improving physical accessibility.
in my role as Conda Manager of Access Initiatives at the Toledo Museum of Art, I want to take this opportunity to highlight an accessibility offering at TMA that fosters the culture of belonging we strive toward as an institution: Sensory Kits. When I began this role in July 2021, as a
Through conversations with local community partners within the autism community, including Avenues for Autism and the Autism Society of Northwest Ohio, sensory kits consistently emerged as a best-practice example used by other cultural institutions. I also looked to well-loved
wheelchair user, I admit I knew more about physical
community organizations such as the Toledo Zoo,
accessibility and Americans with Disabilities
which already offered sensory bags, to understand
Act compliance for the built environment than I
what tools were effective and how we might
knew about sensory inclusivity for neurodiverse
adapt similar practices for a museum setting.
Art Matters
individuals. However, I recognized from the start that sensory inclusivity was a necessary consideration when thinking about creating a more accessible museum. According to 2021 data from the World Health Organization, approximately one out of every 127 people worldwide is on the autism spectrum. Additionally, research published in the British Medical Bulletin estimates that 15–20% of the global population is neurodiverse, including individuals with autism, ADHD, post-traumatic stress disorder, sensory processing differences, anxiety and dementia, among other diagnoses, that affect how one processes and navigates sensory input.
Above: Sensory kits contain items designed to stimulate or soothe the nervous system through the five senses. Museum guests can borrow sensory kits at any Visitor Services location for free. Right: A visitor shows one of the items found in a sensory kit during an event in the Glass Pavilion.
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Toledo Museum of Art
To test their impact, we first introduced sensory
Today, the Museum’s sensory kits include fidget
bags with a variety of fidgets; they were given away
tools and textured objects, provided in an easy-
in designated sensory-friendly areas during large-
to-clean carrying case that doubles as a pop fidget
scale public events such as our annual Block Party
and features an identifying keychain that is itself
celebration and Great Art Escape. The response
a textured object. These tools empower visitors
was overwhelmingly positive. During Great Art
to self-regulate sensory input and more fully
Escape in 2022, one visitor shared, “The sensory
engage with Museum content. For individuals
area helped my daughter enjoy a full day at the
with sensory processing differences, as well as
Museum. She spent five hours there and was able
young children or first-time visitors, these kits can
to enjoy and experience the Museum in a way
mean the difference between an overwhelming
I have not been able to see her do before.” This
experience and a welcoming, comfortable one.
feedback affirmed the value of sensory supports in creating meaningful, inclusive experiences. In early 2023, Museum staff completed initial
Importantly, the kits do not single visitors out. They are freely available and support independence and autonomy while enhancing engagement. work in our galleries, the kits continue to prove
Credentialing and Continuing Education Standards
valuable in helping visitors navigate unexpected
(IBCCES). This training equipped our staff with
sensory input, such as construction noise.
the tools and understanding needed to provide excellent customer service to neurodiverse visitors and reinforced our commitment to building a culture of belonging. As part of the certification process, IBCCES conducted a sensory audit of the museum and made several recommendations, including the permanent implementation of sensory kits available for visitors to borrow at Visitor Services desks — similar to our existing practice of lending noise-canceling headphones.
In Fiscal Year 2026, our Visitor Services team
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Additionally, as we continue reinstallation
designation through the International Board of
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training toward our Certified Autism Center™
loaned out the 16 available sensory kits repeatedly. One recent interaction shared by a Visitor Services team member captured their impact: “[Visitors] were happily surprised to find that we offer [sensory kits]. I think their little one felt very seen in that moment.” By providing sensory kits, the Toledo Museum of Art reduces sensory barriers and empowers visitors to engage on their own terms, fostering an inclusive, welcoming museum environment where everyone belongs. 23
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Art Matters
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Toledo Museum of Art
Behind the Scenes
Reimagining Our Galleries Written by Jennifer McCary, Chief Culture and Brand Experience Officer
on canvas, carved in stone, or quietly expressed
through the spaces that house it. At the Toledo
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Museum of Art, a significant story is unfolding now.
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E
very work of art holds a story, whether painted
The Museum’s reinstallation is not merely a collection reorganization; it’s a collaborative effort to rethink how art is experienced, organized and integrated into the lives of the community it serves. For many, the question arises: Why change something that is already great? Given TMA’s recognition as No. 1 in USA Today’s 10Best competition for Best Art Museum and Left: A team of art handlers prepare to deinstall Trolldom Teku Maku Maya Kon by Katsuyo Aoki (Japanese, born 1972) prior to the start of construction in Gallery 23.
Best Free Museum, it’s a valid inquiry. The answer lies in the very nature of art. 25
Discover
Designing for Evolution, Not Replacement
Growth isn’t about replacing greatness; it’s
about ensuring its endurance. This philosophy underpins TMA’s reinstallation. Instead of discarding what has made the Museum exceptional, the project aims to build upon it, reimagining how its collection reflects both history and the present. Architect Michael Maltzan, leading a
However, the design team emphasizes that chronology is not a single narrative but a framework for intersecting stories. “There are parallel timelines among different cultures,” Maltzan observes. “What becomes intriguing are the moments where they intersect — highlighting similarities and differences at the same point in time.” These intersections aim to illuminate both shared humanity and cultural specificity, enriching visitors’ understanding of art and its context.
multidisciplinary design team partnering with TMA for the reinstallation, articulates the challenge as translating mission into physical space. “At one level, the Museum’s mission seems simple — integrating art into people’s lives,” he explains. “But the real question is how that translates into space and experience.” The answer emphasizes accessibility, visibility and connection. The redesigned galleries will make the collection feel more immediate and relevant, bridging the gap between artwork, audience and community. A bold decision at the core of the reinstallation is to organize the Museum chronologically, Art Matters
reviving pathways that have been closed off for
If the reinstallation has a defining characteristic,
it’s collaboration. From architects and designers to curators and project managers, the effort spans the entire institution and beyond. Unlike traditional design processes, this one resists the notion of a single author. “This was never going to be designed by one person,” Maltzan asserts. “It’s a collective effort.” TMA’s project lead, Deputy Director Andrea
years. For the first time, visitors will navigate TMA
Gardner, explains that collaboration is both
as a continuous narrative, tracing the evolution
conceptual and tangible. “The team has
of art across time, culture and geography.
built large-scale physical models to integrate
This new structure introduces a loop guiding visitors through the Museum while allowing flexibility. Guests can explore the full arc of history or directly access areas of interest. “We’re using chronology to guide our color choices,” Maltzan adds. “We will employ color tones that relate to specific periods as we transition from the Classic Court through to Levis [Gallery]. This organization allows visitors to concentrate on the beautiful collection and newest acquisitions.” 26
Collaboration as the Creative Engine
ideas across disciplines, allowing us to visualize how individual elements coalesce into a unified whole,” she describes. Hannah Hoyt, a principal at Michael Maltzan Architecture, emphasizes that “collaboration is constant and shifts based on needs and objectives.” This dynamic approach responds to emergent changes, ensuring flexibility and continuity in achieving shared goals.
Beyond navigation lies a more profound
designer Dungjai Pungauthaikan of studio
emotional connection to the campus and its
Once-Future Office highlights the importance
collection. Maltzan describes the goal as creating
of “deep listening” — engaging stakeholders
moments where everything aligns — the height of
and the community to ensure designs reflect
a sculpture, the color of the surrounding wall, the
those they serve. “The community engagement
quality of light — immersing visitors in the art.
we’ve done fuels the work,” she explains. However, collaboration also introduces complexity. Central to these efforts was involving the Toledo community for feedback on the reinstallation.
“That puts you emotionally into contact with the art,” he says. “And that’s something you carry with you.” The reinstallation aims to balance familiarity
The engagement process has reached 1,591 people,
and discovery. Returning visitors will recognize
surpassing the goal of 1,000, including the work
the museum they love but encounter it in new
and input of the Museum’s Community Council.
ways. First-time visitors will find an experience
The reinstallation process is nonlinear, shaped
designed to invite exploration and return visits.
by constant feedback, revision and dialogue. Ideas
Adam Levine, TMA’s Director and CEO,
evolve, directions shift, and through this iteration,
has shared in community town halls that this
the project moves closer to its goal: a museum
reinstallation represents “a holistic rethinking
that genuinely reflects its mission and vision.
of the visitor’s experience.” While updating
The Visitor at the Center
core systems was necessary, it also presents an opportunity to “thoughtfully consider how
Every decision, from architectural layout to
art is presented and the comfort and sense of
interpretive design, ultimately circles back to one
belonging we create for everyone,” he explains.
question: What does this mean for the visitor? our decisions,” Pungauthaikan affirms. community members and the Community Council “created a strong foundation.” She explains, “The common thread is a love and appreciation of the Museum, with aspirations for it to be a welcoming center within Toledo and beyond.” This experience operates on multiple levels. Practically, the reinstallation emphasizes clarity and accessibility, enabling intuitive navigation through the Museum. Visitors should easily know where they are, where they’re going,
While the visitor experience may seem seamless,
the work behind it is anything but simple. Crystal Phelps, TMA’s Collection Reinstallation Project Manager, describes her role as the hub of a wheel
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Hoyt notes that the opportunity to engage with
A Museum for the Future
Summer
“The visitor experience drives most of
Toledo Museum of Art
For environmental graphics and wayfinding,
— connecting multiple timelines, priorities and teams to keep the project moving forward. “It’s about keeping the train on the tracks,” she says. That train is complex. The reinstallation impacts every part of the institution — from galleries and storage to facilities, grounds and the Glass Pavilion. It involves internal teams, external partners, contractors and vendors, all working in concert.
and how to move through the space. 27
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Art Matters
Discover
As the reinstallation takes shape, one thing
describes the work as both logistical and physical.
becomes clear: this is not just a project for
As artworks are moved and reinstalled, precision
today. It is an investment in the Museum’s
is critical. “This isn’t like rearranging furniture
future. By bringing curators together across
in your house,” he explains. “Every move has to
disciplines, the process fosters a shared
be planned. Every placement has to be right.”
vision that extends beyond reopening. By
Flexibility remains essential, as the team must adapt to unexpected challenges from the scale of the collection and the age of the
rethinking how stories are told, it prepares the institution for new generations of visitors. Visitors can trust that this reinstallation is
building. As Phelps explains, “It’s the art of
“consistent with the Toledo Museum of Art’s history,
being precise while allowing for flexibility.”
which respects its architecture. It embraces the need
Even as the reinstallation looks forward, it remains grounded in Toledo’s identity. For example, the integration of glassmaking into the Museum’s
for familiarity while also seizing the opportunity presented by our infrastructure upgrades to truly enhance the experience,” Levine explains.
design elements reflects local heritage. The team
By embracing both local identity and global
explored combining traditional glass techniques
relevance, TMA reinforces its position as a cultural
with modern technologies like CNC milling and
leader. “It’s a very special place,” Maltzan reflects,
3D printing to create unique signage and features.
“one that people around the world are watching.”
The Glass Studio team, filled with talented artists,
For the Toledo community, this recognition
has contributed to this design integration. Every
is both a point of pride and a call to action. At
detail is considered with the visitor in mind.
its core, this transformation is not just about
Technology also plays a growing role in enhancing
art on the walls. It’s about creating a museum that continues to matter — one that evolves,
sound integration, these tools expand audience
connects and inspires for generations to come.
to diverse learning styles and expectations. The ensuring that new elements enhance rather than
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design carefully balances innovation with tradition,
Summer
the visitor experience. From digital projections to engagement, making the Museum more accessible
Toledo Museum of Art
TMA’s installation design manager, Jason Depriest,
overwhelm the core experience of encountering art.
Left: In the Great Gallery, the deinstallation of The Crowning of Saint Catherine (Peter Paul Rubens, Flemish, 1577–1640) offers a behind-thescenes look at how conservators, preparators, art handlers and project specialists work together using specialized equipment and careful handling, guided by conservation best practices at every step.
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Art on the Move Art Matters
Discover
Written by Willow Gritzmaker, Curatorial Research Associate in American Art
30
John Singleton Copley (American, 1738–1815), Young Lady with a Bird and a Dog. 1767, oil on canvas. 48 × 39 1/2 in. (121.9 × 100.3 cm). Purchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott. 1950.306
T
hree faces from the TMA collection currently look back at visitors to the Hunter Museum
of American Art in Chattanooga, Tennessee: John Singleton Copley’s Young Lady with a Bird and a Dog, John Singer Sargent’s Princess Demidoff, and Cecilia Beaux’s After the Meeting. Toledo Museum of Art
These paintings are by American artists working in three different centuries. While portraits remained popular throughout the timeframe, each shows a slightly different type of female sitter. Copley’s 1767 painting submitted to the Society of Artists’ annual exhibition in London is of a now unknown girl. Sophie Ilarinovna, a wealthy socialite who married a Russian diplomat, is the subject of (and likely patron behind) Sargent’s late 1800s work. Beaux, meanwhile, painted her companion and likely romantic partner Dorothea Gilder in her casually posed 1914 portrait. The opportunity to share these artworks is made in conjunction with Art Bridges Partner Loan Network, an art-sharing initiative that provides support to institutions seeking to loan or borrow artworks from museum collections. These familiar faces will return to Toledo upon completion of the reinstallation in 2027.
Summer 2026
Left: Cecilia Beaux (American, 1855–1942), After the Meeting. 1914, oil on canvas. 41 × 28 in. (104.1 × 71.1 cm). Gift of Florence Scott Libbey. 1915.163
Above: John Singer Sargent (American, 1856–1925), Princess Demidoff. About 1895–1896, oil on canvas. 65 3/4 × 38 1/4 in. (167 × 97.2 cm). Gift of Florence Scott Libbey. 1925.109
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Discover
A Tale Across Time
Artifacts of a Connected World Written by Lorrie Wehr, Guest Writer
W
hen the Toledo Museum of Art unveils the reinstallation of its permanent collection
late in 2027, two distinctive recent acquisitions will debut: The Crusader Icon with Two Martyrs of Sebaste — Eugenios and Auxentios and the Cup of Joy, a ceremonial Kiddush cup used to
Art Matters
sanctify the Sabbath and Jewish holidays. Remarkable examples of medieval artistry, these works will play key roles in fulfilling a central goal of the reinstallation. When complete, visitors will enjoy an experience unique among art museums — a chronological journey across geography and cultures, spanning 6,000 years of human creativity. Andrea Gardner, Deputy Director of TMA, is leading the reinstallation. “This is going to be a way for you to really see, in a snapshot, what was happening across the world in a period of time,” Gardner explains. “The world has been connected for thousands of years … it started out in regional connections, and then … you start to see how it broadens with time.” 32
Below: Italian, A Crusader Icon with Two Martyrs of Sebaste— Eugenios and Auxentios. About 1260–1291, tempera and oil on walnut panel. 18 7/8 × 14 3/4 × 1 3/16 in. (48 × 37.5 × 3 cm). Given in honor of Bishop Daniel E. Thomas, and purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2025.132
The Cup of Joy is a silver Kiddush cup, a ritual object used to sanctify the Sabbath and Jewish holidays. An extraordinary addition to the Museum’s collection, it is recognized as the earliest known Kiddush cup in existence. It features a rare early pairing of Hebrew and Arabic inscriptions alongside Jewish iconography, illuminating a
Toledo Museum of Art
Left: Khorasan, Cup of Joy. 11th–12th century, silver, engraved and inlaid with niello. 3 1/2 × 5 in. (8.9 × 12.7 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2025.174. Photograph Courtesy of Sotheby's, Inc. © 2025
period of artistic collaboration between Jewish and Muslim artisans. Almost certainly the product of an 11th century workshop in the historic region of Khorasan (spanning parts of modern-day Afghanistan, Turkmenistan and Iran), the cup bears distinctive designs and inscriptions particular to Central Asian silversmithing of the time. “It really helps us tell the story of Judaism in the Middle Ages,” says Gardner. “There’s also Islamic script on it. That’s about the dialogue among cultures. So, it’s the perfect piece for us to acquire to talk about global interconnectedness, which is really the whole through-line of our entire installation.” The Crusader Icon adds yet another layer to the narrative of the reinstallation. Produced in the Crusader Kingdom (modern-day Acre, Israel) in the mid-to-late 13th century, near the end of Martyrs of Sebaste, who were murdered under Emperor Diocletian. As an artifact of the Christian
Displayed in a gallery adjacent to the relocated Cloister, the Crusader Icon and Cup of Joy will be crucial elements in this narrative. The works
lands and cultures, the Crusader Icon represents
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Crusaders traveling beyond Europe into eastern
Summer
the European Crusades, it depicts two of the Five
a moment of artistic conversation between Western and Byzantine Christian painting.
displayed within the Cloister will focus primarily on
Gardner explains that, while in these lands far
Christian European art of the Middle Ages, while the
from home, the Crusaders “would commission icons
connecting galleries — visible beyond the colonnades
for religious worship, and so the Crusader icons are
of the Cloister — will contain non-European art from
made in the style of regions further to the east …
the same span of time. This strategic presentation
but they are the iconography of Europeans. Another
will explore the dialogue between the cultures
great example of people moving across cultures
of Europe, Asia and Africa as they were brought
and having these interactions … and another really
together by the flow of trade, religions and wars.
important work for what we’re trying to explain.” 33
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Experience
Experience Art Matters
Experience Glass in Motion
In the Glass Pavilion Hot Shop, art comes alive through free daily glassblowing demonstrations that invite you to gather, watch and wonder. Feel the heat, hear the tools and see molten glass transform in real time. These open, welcoming moments connect making and meaning — offering a front-row seat to creativity, craft and the shared joy of learning how art is made.
Toledo Museum of Art Summer 2026 35
Experience Art Matters
Portrait of Bobby Anspach. Image courtesy of the Bobby Anspach Estate.
36
Toledo Museum of Art
Losing Ourselves Together
The Art of Bobby Anspach Written by Paige Rozanski, Associate Curator of Modern and Contemporary Art
A
rtist Bobby Anspach had a steadfast vision that guided his artistic practice. He firmly
enlighten others and bring awareness to what he considered to be the pressing issue of our lifetime the planet we all call home. This concern for the
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— the destruction, degradation and disregard for
Summer
believed that his artwork could be used as a tool to
state of the world informed his creative journey and led to the development of his sculptures — or “eye machines” — which he called Place for Continuous Eye Contact. Anspach believed in the power of art to invoke a transformative experience that would open people’s eyes to the world around them and to each other. He wanted people to feel something when they encountered his art, and he spent the last five years of his life devoted to making artworks that would heal humanity and, through this creative act, himself. 37
Experience Above: Bobby Anspach surrounded by thousands of colorful pom poms in his studio. Image courtesy of Katie Hogan.
The Toledo Museum of Art is honored to
Anspach’s experience with meditation instilled
introduce visitors to the art of Bobby Anspach.
within him a sense of peace and retreat from an
This exhibition of his work — presented in his
outside world that he perceived as disconnected to
hometown for the first time — celebrates his
the realities of climate change and the catastrophic
extraordinary vision and enduring legacy.
perils the world faced in the future. His meditative
Art Matters
Anspach was born in 1987 in Toledo, Ohio. He was
38
exposed to art at a young age through his family and took classes at TMA as a teenager. He focused
practice led him to the realization that everything in the universe was inherently connected. Anspach felt compelled to share this sense of peace
on a studio art major at Boston College while also
and togetherness with others because he believed
exploring religion and theology. Determined to
it would give way to greater compassion for each
pursue a career as an artist after graduating in 2011,
other and the planet. As he wrote in his MFA thesis
he continued his studies at the California College
at RISD, “I have had very deep experiences in this
of the Arts in San Francisco before attending the
world which have shown me something profound.
Rhode Island School of Design (RISD), where he
These experiences have shown me that there is
completed an MFA in sculpture in 2017. By the time
a way of relating to this world that, if everyone
he arrived in Rhode Island, Anspach had already
could see it, we would all live our lives in a very
started to conceptualize the artwork he hoped
different way. We would see that what we have
to make, which was largely informed by his own
is incredibly precious and we would go to great
immersion into Buddhism and eastern religions.
lengths to care for each other and for the planet.”
Toledo Museum of Art
Above: Place for Continuous Eye Contact interactive sculpture. Mixed media. Image courtesy of the Bobby Anspach Estate.
Anspach understood words weren’t adequate to get his message across, but art had the capacity to do so. In a 2015 email draft written during his time at RISD, he explained, “I wish to show the world that our life is the most precious opportunity result of [an] incorrect perspective, one which views other people as separate, and imagines that heaven envisioned sculpture as the vehicle to create an
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is in some moment other than this one.” Anspach
Summer
imaginable. That the suffering that we feel is the
immersive experience that explored perception by transcending physical limits, ultimately leading to the creation of the eye machines. These would remain his primary artistic focus until his premature death in 2022. As he also wrote in that same correspondence, “I am going to make the most beautiful sculpture in the world. A space for the mind to dissolve the boundaries between the self and the other. It is going to be beautiful because everything is beautiful when the mind lets go.” 39
Experience Art Matters
Though Anspach’s multimedia sculptures were
Although there appears to be a haphazard
unique in their construction, he called them all Place
arrangement of cords, cables and ropes, the
for Continuous Eye Contact as each were an iteration
structures are intricately designed and utilize
of the same concept, requiring the active participation
complex digital technology to distribute data and
of a viewer to engage in a visual and aural experience.
control lighting patterns. A guide will be present
The sculptures are meant to generate an altered
at each artwork to greet a visitor and walk them
state of consciousness by collapsing time and
through the protocol. Each guest will receive an eye
space through a shift in perception that dissolves
patch to cover one eye and a pair of headphones
spatial planes into a continuous, cohesive field that
before entering the machine. Once instructions
gives way to a sense of disembodiment and then
are provided, the experience begins. For several
calm. This change in awareness transforms one’s
minutes an ambient musical composition plays
state of being from mundane to transcendent by
while the images visible through one eye start to
creating spiritual unification with reality and with
blur and merge with the colors and forms of the
others. Anspach hoped his machines would serve
sculpture. The combination of visual encounter
as a momentary retreat, providing a blissful and
and music induce a meditative moment.
meditative experience while promoting a feeling of
Anspach opens to the public on October 17 and
Visitors to Losing Ourselves Together: The Art of
will be on view through March 14, 2027. We invite
Bobby Anspach will experience two examples of
you to experience Anspach’s quest to discover
Place for Continuous Eye Contact. Both machines
a moment of pause, a space for reflection and
are decorated with brightly colored pom poms — his
connection to something larger than oneself.
signature material — affixed in patterns resembling mandalas and glowing LED lights. 40
Losing Ourselves Together: The Art of Bobby
togetherness and connection to the greater world.
Toledo Museum of Art Summer 2026
Left: Anspach's Place for Continuous Eye Contact sculptures create environments that use light, sound and carefully constructed optical effects to produce an altered sense of time and space.
Above: A close-up view of an interactive sculpture from Bobby Anspach's (American, 1987–2022) Place for Continuous Eye Contact. Image courtesy of the Bobby Anspach Estate.
41
Experience Art Matters 42
On View & Upcoming
TMA Forever
September 12, 2026–January 3, 2027
Bobby Anspach — Losing Ourselves Together
Glass Pavilion, Gallery 6
October 17, 2026–March 14, 2027
TMA Forever celebrates more than a century of
Step into a series of immersive environments
connection between the Toledo Museum of Art
where light and sound foster connection and invite
and the community it calls home. Founded in 1901
you to see yourself — and each other — differently.
with a vision to share the transformative power
Losing Ourselves Together brings the visionary
of art, TMA has grown into a collection of more
work of Toledo-born artist Bobby Anspach home
than 30,000 works — an extraordinary resource
for the first time. Anchored by immersive “eye
that remains free and open to all. This exhibition
machines,” along with sculptures, paintings and
brings together beloved favorites gathered over the
works on paper, the exhibition invites visitors
past 125 years alongside newly acquired treasures,
into shared and deeply personal experiences that
inviting visitors to rediscover the moments
shift perception and illuminate our connection
that have shaped their personal TMA story.
to one another and the world around us.
11th Annual Block Party
Rita B. Kern Sensory Garden
TMA Outdoor Campus
September 19–20, 2026, 11 a.m.–5 p.m.
September 26, 2026, 3:00–8:30 p.m.
This harvest season, don’t pass up the chance
Be sure to put this year’s Block Party on your Toledo families, neighbors and artists together for
will be on display to tempt you, in all colors,
an unforgettable afternoon of fun and creativity. Let
shapes and sizes. Each pumpkin will be hand
the kids try a cool new art activity, get in the groove
blown by our Glass Pavilion studio artists, which
with live music and performances, sample the fare
means your pumpkin of choice will be a true
from local food trucks and more — just don’t miss this
one-of-a-kind work of art to enjoy forever.
annual celebration of art, culture and community.
Hannah Bowlus — Origin Point
Fall Classes at TMA
Glass Pavilion, Gallery 5
Deadlines for Scholarship Applications:
July 29–December 27, 2026
The creativity of multimedia artist and designer
Class Registration Opens: July 22, 2026 •
Hannah Bowlus emerges at the intersection of geometry and perception. Trained in both art and industry, she has developed a unique synthesis of skills; in Origin Point she presents
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calendar! This free event is open to all, bringing
pumpkin patch. Over 450 spectacular pumpkins
Summer
to pick your favorite from our dazzling glass
Toledo Museum of Art
6th Annual Glass Harvest
September 11 for Class Session 1: October 3–October 31
•
October 16 for Class Session 2: November 7–December 12
the relationship between the sphere and the cube
Now is the time to check out our roster of
as sculptures, lighting and furniture. The result
Fall Classes and Workshops, with options for
is a fascinating exploration of the unintended
all skill levels and ages, as well as scholarship
beauty of utilitarian objects that rise from
opportunities for youth and adult students. Visit
industrial production and engineered systems.
toledomuseum.org/classes for more information. 43
Experience
Artist Spotlight
Fawn Denbow C
reating with neon requires an artist to be many things — glass bender, chemist,
electrician, engineer. Keen curiosity, endless experimentation and a high tolerance for failure are non-negotiable. Success is built on obsessive perfectionism and a passion for process. Glass artist Fawn Denbow pursues these skills with a drive rooted in her early training as a dancer, when she first began to explore artistic perfection as an ideal built on constant, punishing practice and the ever-present possibility of failure.
Art Matters
As a student at Bowling Green State University’s School of Art, Denbow’s fascination with perfection found a new medium — glass. It is an art form “you have to perfect,” she explains, “keep practicing … keep doing it,” always open to making mistakes and starting over. Denbow discovered neon when she began working at the Toledo Museum of Art. “We were working on building out the Neon Studio, and all of us got a chance to … start learning in neon,” She was mentored by a neon bender from Detroit. “I got really into it because it’s really difficult … you have electrical components and science and I got to learn how to do that process.” She adds, “You're playing with fire, which is fun, but I also get to be, in a way, a scientist.” 44
Fawn Denbow, Neon Shoe — Dancing Blue. Neon and glass. 14.5 x 8 x 12 in.
In addition to her work as a neon artist and Glass Technician at TMA, Denbow teaches neon classes and workshops in the Glass Studios, introducing students to the process of bending hot glass tubes, bombarding them with neon gas and electrifying them to create one-of-a-kind light sculptures. “For me,” she says, “that's my favorite part, the moment of truth … people are just amazed. It is a really gratifying thing to see.” In her own work, Denbow continues to experiment and explore, working and learning with other artists in the neon art community. She says working and teaching at TMA are “definitely in the future” as well. Explore Denbow’s neon artworks in the Sanda Findley Collector’s Corner, now available through the TMA Store online — store.toledomuseum.org.
Join TMA today
Experience the Toledo Museum of Art like never before with exclusive member benefits, including access to dynamic programs, captivating exhibitions, behind-the-scenes insights and valuable discounts. Learn more and become a member at toledomuseum.org/membership.
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2026 Summer
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On the Cover: Visitors experience one of Bobby Anspach's interactive eye machines during the exhibition Everything is Change at the Newport Art Museum. Read more about the artist and his work that will be on view at TMA (see p. 36). Image courtesy of Pernille Loof.