2025-05-15T13:55:38-05:00 2024-06-30 872525370 CITRIN COOPERMAN ADVISORS LLC 180 PARK AVENUE SUITE 200 FLORHAM PARK NJ 07932 990 2023-07-01 237156720 AMIGOS DEL MUSEO DEL BARRIO INC EL MUSEO DEL BARRIO AMIG 2128317272 1230 FIFTH AVENUE NEW YORK NY 10029 PATRICK CHARPENEL EXECUTIVE DIRECTOR 2128317272 2025-05-15 1 0 MONIKA YADAV P01473820 9732180500 2025-05-15 2023 2025-03-06 01:10:19Z PATRICK CHARPENEL 1230 FIFTH AVENUE NEW YORK NY 10029 5107547 0 X WWW.ELMUSEO.ORG X 1971 NY TO PRESERVE, INTERPRET, AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS IN THE UNITED STATES BY MEANS OF EXHIBITIONS, PUBLIC PROGRAMS, PUBLICATIONS, AND EDUCATIONAL ACTIVITIES. 22 22 98 59 0 0 3275337 3911769 532191 513734 82152 299486 52355 -106712 3942035 4618277 0 0 0 0 3900757 3944611 0 0 917313 3851701 3788162 7752458 7732773 -3810423 -3114496 14128911 10812220 2088606 1885486 12040305 8926734 X EL MUSEO'S MISSION IS TO PRESERVE, INTERPRET, AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS IN THE UNITED STATES BY MEANS OF EXHIBITIONS, PUBLIC PROGRAMS, PUBLICATIONS, AND EDUCATIONAL ACTIVITIES. 0 0 1818117 CURATORIAL AND EXHIBITIONS: CO-CURATED BY RODRIGO MOURA AND JULIETA GONZALEZRADICAL GESTURES ARE AT THE CORE OF RAPHAEL MONTAEZ ORTIZ' LIFE AND WORK. RADICAL GESTURES THAT PROPOSE DESTRUCTION IN ART AS AN ANTIDOTE TO THE HEGEMONIC NARRATIVE OF EUROCENTRISM, CAPITALISM, AND PROGRESS. RADICAL GESTURES THAT SEEK OUT THE HEALING POTENTIAL IN ART AND THE RETURN TO ANCESTRAL AND INDIGENOUS FORMS OF KNOWLEDGE.THIS EXHIBITION PRESENTS SIXTY-FIVE YEARS OF THE ARTIST'S TRAJECTORY, INCLUDING HIS RADICAL GESTURE OF FOUNDING EL MUSEO DEL BARRIO IN 1969, THE INSTITUTION THAT NOW PRESENTS THIS EXHIBITION, HIS FIRST MAJOR PRESENTATION HERE SINCE 1988. BORN IN BROOKLYN, THE ARTIST'S FORMATIVE YEARS WORKING IN NEW YORK AND HIS ACTIVISM FOR THE PUERTO RICAN COMMUNITY OFFER A STARTING POINT FOR THE EXHIBITION'S NARRATIVE, PRECEDING HIS EVENTUAL RELOCATION TO NEW JERSEY WHERE HE EXPANDED HIS PHILOSOPHICAL THINKING, BECAME A MENTORING PROFESSOR TO NEW GENERATIONS, AND CONTINUED TO EXPERIMENT WITH NEW MEDIA.IN HIS PHD THESIS DEFENDED IN 1982, MONTAEZ ORTIZ ELABORATED ON THE NOTION OF "AUTHENTICATING ART" AS THE CONCEPTUAL IN HIS PHD THESIS DEFENDED IN 1982, MONTAEZ ORTIZ ELABORATED ON THE NOTION OF "AUTHENTICATING ART" AS THE CONCEPTUAL FRAMEWORK FOR HIS PRODUCTION. THIS SINGULAR CONCEPT TAKES ON A RANGE OF INTERCONNECTED MEANINGS IN HIS PRACTICE AND INCLUDES THE HEALING POTENTIAL OF IMAGINATION, THE COMMUNION BETWEEN PHYSIOLOGICAL AND PSYCHOLOGICAL PROCESSES, AND A MULTIETHNIC APPROACH THAT IN THE ARTIST'S PARTICULAR CASE DEALS WITH HIS PERSONAL HISTORY AND DIVERSE BACKGROUND. TAKING THE CUE FROM ANTHROPOLOGIST EDWARD SAPIR'S 1924 ESSAY CULTURE, GENUINE AND SPURIOUS, MONTAEZ ORTIZ USES THE TERM "AUTHENTICATING" AS ONE THAT IS CHARACTERISTIC OF ANCESTRAL CULTURES, WHEREAS THE "SPURIOUS" RESIDES IN THE ALIENATION BROUGHT ABOUT BY MODERN INDUSTRIALIZATION AND CONSUMER CULTURE. IN THIS SENSE, HIS THINKING AND ARTISTIC PRACTICE CAN BE READ AS A DIALECTIC BETWEEN THE AUTHENTICATING AND THE SPURIOUS, WHICH IN TURN ORGANIZES THE THEMATIC SECTIONS IN THE EXHIBITION AND INFORMS THE CONTEXTUAL RELATIONS BETWEEN ORTIZ AND HIS PEERS, WORKING NOT ONLY IN NEW YORK, BUT IN OTHER PARTS OF THE WORLD. TODAY, WE WITNESS A POST-CARTESIAN TURN IN FIELDS SUCH AS ART, PHILOSOPHY, AND ANTHROPOLOGY. THIS NEW MOMENT ENCOURAGES US TO REEMBRACE MAGICAL THINKING, ANIMISM, AND A SYMBIOTIC RELATION TO NATURE IN ORDER TO COUNTERACT THE POTENTIALLY LETHAL EFFECTS OF UNFETTERED "PROGRESS," ITS CONCOMITANT DESTRUCTION OF OUR ENVIRONMENT, AND THE CONVIVIAL RELATION BETWEEN HUMANS AND OTHER SPECIES. IN THIS CONTEXT, A REVISION OF RAPHAEL MONTAEZ ORTIZ' WORK IS MORE RELEVANT AND NECESSARY THAN EVER.RAPHAEL MONTANEZ ORTIZ: A CONTEXTUAL RETROSPECTIVE IS PRESENTED BY [PRESENTADA POR] LEADERSHIP SUPPORT IS PROVIDED BY TONY BECHARA. MAJOR SUPPORT IS PROVIDED BY THE TERRA FOUNDATION, ANDY WARHOL FOUNDATION, AND ROCKEFELLER BROTHERS FUND. ADDITIONAL SUPPORT IS PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS (DCLA). DOMESTICANXOCTOBER 27, 2022 MARCH 26, 2023CURATED BY SUSANNA V. TEMKINDOMESTICANX BRINGS TOGETHER SEVEN LATINX ARTISTS WHOSE PRACTICES ADDRESS HOME, DECORATION, SPIRITUALITY, AND HEALING. THE SHOW IS INSPIRED BY DOMESTICANA, AN IDEA FIRST CONCEPTUALIZED BY ARTIST, SCHOLAR, AND CRITIC AMALIA MESA-BAINS. ORIGINALLY PUBLISHED IN A 1995 ESSAY THAT IS TODAY CONSIDERED AN ESSENTIAL TEXT IN CHICANO/A/X AND LATINO/A/X ART HISTORY, DOMESTICANA OFFERED A RESPONSE TO THE MALE-DOMINATED RASQUACHISMO, AN EARLIER TERM COINED BY SCHOLAR TOMS YBARRA-FRAUSTO. PROPOSED FROM A FEMINIST PERSPECTIVE, DOMESTICANA SHIFTS THE DEFIANT AND MAKE-DO INVENTIVENESS THAT CHARACTERIZES RASQUACHE VERNACULAR SENSIBILITY TO THE SPECIFIC EXPERIENCE OF WORKING-CLASS WOMEN. DRAWING FROM MESA-BAINS'S OWN ACKNOWLEDGEMENT THAT "TERMINOLOGIES MUST REMAIN POROUS, SENSIBILITIES NEVER COMPLETELY NAMED, AND CATEGORIES SHATTERED," DOMESTICANX EXPANDS THE ARTIST'S INITIAL THEORY THROUGH THE LENS OF QUEERNESS AND INTERSECTIONALITY.ENCOMPASSING PAINTING, TEXTILE, CERAMICS, PHOTOGRAPHY, AND INSTALLATION, THE EXHIBITION FEATURES A RANGE OF MEDIA BY ARTISTS WHOSE DIVERSE BACKGROUNDS EXTEND THE ORIGINAL CHICANA EMPHASIS OF DOMESTICANA. IN ADDITION TO MESA-BAINS, NITZA TUFIO AND MARIA BRITO, FELLOW VETERANA ARTISTS FROM THE SAME GENERATION, ARE REPRESENTED BY BOTH HISTORICAL AND RECENT PIECES. THEIR WORK IS DISPLAYED ALONGSIDE NEWLY CREATED ART BY AMARISE CARRERAS, CIELO FLIX-HERNNDEZ, JOEL GAITAN, AND MISLA, ALL MAKING THEIR MUSEUM DEBUT. EXPLORING SUCH SUBJECTS AS THE ALTAR, FAMILY, SELF-FASHIONING, AND THE DOMESTIC SPHERE, THE EXHIBITION IS ORGANIZED IN IMMERSIVE DISPLAYS DEVELOPED IN CONVERSATION WITH THE ARTISTS. TOGETHER, THESE PRESENTATIONS OFFER A CROSS-GENERATIONAL DIALOGUE THAT REFLECTS THE EMANCIPATORY AIMS OF MESA-BAINS'S EXHORTATION FOR DOMESTICANA AS EXPRESSION TO "UNDO THE WOUNDS OF PATRIARCHY AND COLONIZATION."DOMESTICANX IS SUPPORTED BY THE ROCKEFELLER BROTHERS FUND, WITH ADDITIONAL FUNDING PROVIDED BY THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.JUAN FRANCISCO ELSO: POR AMRICAOCTOBER 27, 2022 MARCH 26, 2023CURATED BY GUEST CURATOR OLGA VISO IN COLLABORATION WITH SUSANNA V. TEMKINJUAN FRANCISCO ELSO (B. 1956-1988, HAVANA) EMERGED AS AN INTERNATIONALLY RECOGNIZED ARTIST IN CUBA AND MEXICO DURING THE 1980S. USING NATURAL, EARTHEN MATERIALS, HIS SCULPTURAL PRACTICE EXAMINES THE COMPLEX FORMATIONS OF CONTEMPORARY CUBAN, CARIBBEAN, AND LATIN AMERICAN IDENTITIES. IN ELSO'S CONCEPTION, THESE PRISMATIC SUBJECTIVITIES ARE GROUNDED IN RICH, INDIGENOUS HISTORIES THAT HAVE BEEN MATERIALLY SHAPED BY CENTURIES OF COLONIAL OPPRESSION AND THE TRANSATLANTIC SLAVE TRADE. AS REFLECTED IN HIS WORKS THAT CONTEST AND RECONCEIVE INHERITED NARRATIVES AND MYTHOLOGICAL TRADITIONS, ELSO'S AMRICA IS A TRANSNATIONAL AND TRANSHEMISPHERIC CULTURAL IMAGINARY THAT REMAINS UNFINISHED AND IS STILL EVOLVING. BASED IN HAVANA, ELSO WAS PART OF THE FIRST GENERATION BORN AND EDUCATED IN POST-REVOLUTIONARY CUBA. HE BRIEFLY LIVED IN MEXICO CITY IN THE YEARS LEADING UP TO HIS UNTIMELY DEATH FROM CANCER AT AGE 32. YET, THE ARTIST'S MODEST ARTISTIC OUTPUTSOME THIRTY EXTANT SCULPTURES AND WORKS ON PAPER PRODUCED BETWEEN 1978 AND 1988HAS CONTINUED TO HAVE A GLOBAL RESONANCE. HIS BEST-KNOWN SCULPTURE, POR AMRICA [FOR AMERICA] (1986), IS CONSIDERED AN ICON OF LATE 20TH CENTURY LATIN AMERICAN ART, AND AN IMPORTANT PRECURSOR TO TODAY'S POST- AND DECOLONIAL PERSPECTIVES IN CONTEMPORARY ART.DESPITE ELSO'S INFLUENCE HIS ARTISTIC PRODUCTION HAS HAD VERY LITTLE EXPOSURE IN THE US SINCE THE EARLY 1990S. THE EPHEMERAL NATURE OF HIS PRACTICE, COUPLED WITH THE COMPLEXITIES OF USCUBAN POLITICAL RELATIONS, HAS MADE THE LOAN AND DISPLAY OF HIS WORK A CHALLENGE. DESPITE SUCH LIMITATIONS, THIS EXHIBITION BRINGS TOGETHER NEARLY ALL OF ELSO'S MATURE OEUVRE FOR THE FIRST TIME SINCE HIS SOLO EXHIBITION IN HAVANA IN 1982, INCLUDING NEWLY DISCOVERED DRAWINGS AND WORKS PREVIOUSLY BELIEVED LOST. PRESENTED THROUGH A CONTEXTUAL RATHER THAN MONOGRAPHIC APPROACH, ELSO'S PRESCIENT WORK IS POSITIONED AT THE CENTER OF A MULTIGENERATIONAL DIALOGUE OF ARTISTS ACTIVE IN THE CARIBBEAN, AND THROUGHOUT NORTH, SOUTH, AND CENTRAL AMERICA. ORGANIZED INTO SEVERAL, INTERRELATED THEMATIC SECTIONS FEATURING 45 WORK BY MORE THAN 30 ARTISTS, THE PRESENTATION OFFERS VITAL CROSSCURRENTS BETWEEN ELSO'S ART AND THE CREATIVE OUTPUT OF BOTH CLOSE COLLEAGUES AND OTHERS WHO, DESPITE HAVING NOT KNOWN HIM, DEMONSTRATE PARALLEL AFFINITIES. TOGETHER, ELSO AND THESE POLYPHONIC VOICES REFLECT A REORIENTATION OF WESTERN HEGEMONIES AND OPEN NEW POSSIBLE ALTERNATIVES ROOTED IN THE AMERICAS AN AMBITION WHICH ECHOES EL MUSEO DEL BARRIO'S OWN FOUNDATIONAL ETHOS AND CONTINUED COMMITMENTS. JUAN FRANCISCO ELSO: POR AMRICA IS ACCOMPANIED BY A BILINGUAL PUBLICATION, CO-PUBLISHED BY EL MUSEO DEL BARRIO AND [NAME] PUBLICATIONS.THE EXHIBITION IS MADE POSSIBLE THANKS TO MAJOR SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS. ADDITIONAL SUPPORT IS PROVIDED BY TONY BECHARA; CELSO GONZALEZ-FALLA; CRAIG ROBINS; STEVEN AND JUDY SHANK, AND JOHN THOMSON. COMMISSIONS ARE MADE POSSIBLE BY VIA ART FUND AND THE ELIZABETH FIRESTONE GRAHAM FOUNDATION. SUPPORTED IN PART WITH PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE NEW YORK CITY COUNCIL.METHUSELAHREYNIER LEYVA NOVO'S METHUSELAH IS A DIGITAL ARTWORK THAT VIRTUALLY REPRODUCES THE OVER 6,000 MILE TRANSNATIONAL MIGRATORY JOURNEY OF A SINGLE MONARCH BUTTERFLY. THE PROJECT FOLLOWS A BUTTERFLY AVATAR AS IT TRAVELS FROM SOUTHERN CANADA, ACROSS THE UNITED STATES, AND INTO MEXICO, AND BACK, AS PART OF THE ANNUAL REPRODUCTIVE CYCLE OF THE SPECIES. THIS EPIC JOURNEY IS HOSTED AND REPRODUCED IN REAL TIME ON A DEDICATED WEBSITE, MOBILE APP, AND A MIXED-REALITY INSTALLATION ON VIEW IN EL MUSEO DEL BARRIO'S ROOM 110. 1225976 352497 MUSEUM/THEATRE OPERATIONS: MUSEUM OPERATIONS: EL MUSEO IS OPEN THURSDAY THROUGH SUNDAY FROM 11 AM TO 5 PM. IN ADDITION TO EXCITING EXHIBITIONS, EDUCATIONAL AND PUBLIC PROGRAMS AND CULTURAL CELEBRATIONS, IT OFFERS VISITOR AMENTITIES SUCH COAT CHECK AND MUSEUM SHOP. GUEST ARE ENCOURAGED TO RESERVE A TIME TICKET IN ADVANCE AND WALK-INS ARE ALLOWED AS SPACE PERMITS. THEATRE - THE HISTORIC AND BEAUTIFUL TEATRO IS THE ONLY THEATER OF ITS KIND IN THE UPPER EAST SIDE OF MANHATTAN. CONSISTING OF A PROSCENIUM ARCH STAGE WITH AN ORCHESTRA PIT AND SEATING FOR 572 GUESTS, IT HAS BEEN ACKNOWLEDGED AS A LANDMARK QUALITY INTERIOR VENUE FOR ITS REMARKABLE SERIES OF 30-FOOT MURALS AND STAINED-GLASS ROUNDELS. EL TEATRO IS IDEAL FOR AWARD SHOWS, LECTURES, CONCERTS, OPERAS, MEDIA EVENTS, FILM/PHOTO SHOOTS, GRADUATIONS, CONFERENCES AND MORE. 393946 THE MARKETING AND COMMUNICATIONS DEPARTMENT PLAYS A PIVOTAL ROLE IN AMPLIFYING EL MUSEO DEL BARRIO'S MISSION BY PROMOTING ITS EXHIBITIONS, EDUCATION AND PUBLIC PROGRAMS, AND INITIATIVES TO OUR VIBRANT AND DIVERSE COMMUNITY OF NEIGHBORS, ARTISTS, VISITORS, AND SUPPORTERS. WITH A STRATEGIC EMPHASIS ON MEDIA RELATIONS, ADVERTISING, WEB, DIGITAL APP, AND SOCIAL MEDIA COMMUNICATIONS, PRINT MARKETING, THE DEPARTMENT DRIVES COMPREHENSIVE OUTREACH EFFORTS TO MAXIMIZE ENGAGEMENT AND VISIBILITY.IN FISCAL YEAR 2024, THE DEPARTMENT SPEARHEADED IMPACTFUL CAMPAIGNS THAT HIGHLIGHTED EL MUSEO'S FREE EDUCATIONAL INITIATIVES, DYNAMIC PUBLIC PROGRAMS, AND CRITICALLY ACCLAIMED EXHIBITIONS. NOTABLE HIGHLIGHTS INCLUDED OCAMA ARACOEL, A GALLERY ON VIEW AS PART OF THE LONG-TERM EXHIBITION SOMETHING BEAUTIFUL: REFRAMING LA COLECCIN, AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY, AND CUERPO: CARLOS MARTIEL. ADDITIONALLY, THE DEPARTMENT SUCCESSFULLY MANAGED ALL MEDIA INQUIRIES AND REPRESENTED THE MUSEUM IN INTERVIEWS AND PUBLIC COMMUNICATIONS, ENSURING ACCURATE AND COMPELLING REPRESENTATION OF ITS MISSION AND WORK. THROUGH CONSISTENT AND ENGAGING UPDATES ACROSS EL MUSEO'S OWNED CHANNELS (WEBSITE, EMAIL NEWSLETTERS, AND SOCIAL MEDIA), THE DEPARTMENT MAINTAINED STRONG CONNECTIONS WITH THE COMMUNITY, FOSTERING AWARENESS AND PARTICIPATION IN THE MUSEUM'S OFFERINGS. 1468249 202073 OFF-SITE PARTNERSHIPSDURING THE SPRING OF FY 23, EL MUSEO PARTNERED WITH PS 89Q TO FACILITATE AFTERSCHOOL CASA PROGRAMMING, AND WITH PS 83M, PS 72M, PS 4M, THE BILINGUAL BICULTURAL SCHOOL (BBMS), VANGUARD HIGH SCHOOL, AND HUNTER HIGH SCHOOL TO FACILITATE IN-SCHOOL PARTNERSHIPS. IN JUNE, THE PROGRAM SERIES, LED BY EL MUSEO'S TEACHING ARTISTS, CULMINATED WITH END-OF-SCHOOL YEAR CELEBRATIONS THAT HIGHLIGHTED STUDENTS' ARTWORKS AND ACCOMPLISHMENTS. CASA (CULTURAL AFTER SCHOOL ADVENTURES) SUPPORTS EXTENSIVE, BILINGUAL, AND CULTURALLY RELEVANT SCHOOL RESIDENCY PARTNERSHIPS (12-14 SESSIONS, 2 HOURS EACH), ENRICHING THE AFTERSCHOOL NEEDS OF OUR PARTNERING SCHOOLS. CASA PARTNERSHIPS ARE DESIGNED TO SUPPORT AND ENHANCE THE SCHOOL'S ENTIRE LEARNING COMMUNITY, INCLUDING PARENTS AND TEACHERS BY USING FUNDS FOR A TAILORED CURRICULUM AND MATERIALS, TEACHING ARTIST FEES, VISITS TO EL MUSEO, AND THE INSTALLATION OF ART CREATED BY STUDENTS OF THE PROGRAM. THIS PROGRAM ALSO PROVIDES STUDENTS WITH THE OPPORTUNITY TO DEEPLY EXPLORE MULTIPLE PROJECTS AND ACQUIRE UNCONVENTIONAL/ALTERNATIVE ART MAKING AND CRITICAL THINKING SKILLS. EL MUSEO'S SCHOOL PARTNERSHIP CURRICULUM IS UNIQUE IN THAT IT IS DESIGNED AROUND CONVERSATIONS WITH THE TEACHERS AND STAFF OF EACH SCHOOL, CONSIDERING THEIR COMMUNITIES AND THE COMMUNITY AROUND THE SCHOOL, EXPOSING THE STUDENTS TO THE RICHNESS OF LATINX, CARIBBEAN AND LATIN-AMERICAN ART AND CULTURE AND AS A RESULT, THE CULTURAL DIVERSITY OF NEW YORK CITY. EL MUSEO'S OFF-SITE PARTNERSHIP PROGRAMS SERVED APPROXIMATELY 260 STUDENTS AND TEACHERS IN FY 23. ON-SITE EDUCATION PROGRAMSGUIDED VISITS OFFER INDIVIDUALS OF ALL AGES MULTIPLE ENTRY POINTS TO EXPLORE EL MUSEO'S MISSION AND HISTORY, PERMANENT COLLECTION, EXHIBITIONS, AND CULTURAL CELEBRATIONS, WHILE FOSTERING INDIVIDUAL AND COLLECTIVE SHARING AND UNDERSTANDING THROUGH INQUIRY AND DIALOGUE. PARTICIPANTS HAVE THE OPPORTUNITY TO CONSIDER THE EXPERIENCES OF COMMUNITIES FROM PUERTO RICO, LATIN AMERICA, THE CARIBBEAN AND THE UNITED STATES THROUGH IN-DEPTH EXPLORATIONS OF WORKS OF ART IN EL MUSEO'S EXHIBITIONS AND PERMANENT COLLECTION. A GUIDED VISIT PROGRAM TYPICALLY INCLUDES A 60-MINUTE GUIDED TOUR OF EL MUSEO'S EXHIBITIONS LED BY A MUSEUM EDUCATOR WITH AN OPTION OF EXPANDING THE PROGRAM TO INCLUDE A HANDS-ON ART-MAKING WORKSHOP FOR A 90 MINUTE PROGRAM. STORYTELLING PROGRAMS ARE ALSO A PART OF EL MUSEO'S GUIDED VISITS OFFERING. CREATED FOR KINDERGARTEN 3RD GRADE LEARNERS, STORYTELLING WORKSHOPS PROVIDE A CREATIVE AND BILINGUAL 90- MINUTE EXPERIENCE, INTRODUCING YOUNGER LEARNERS TO THE IDEAS OF NARRATIVE, CULTURE AND ART. WITH A CHOICE OF READING "WAITING FOR THE BIBLIOBURRO OR "TITO PUENTE: MAMBO KING", EACH STORYTELLING WORKSHOP IS ACCOMPANIED WITH AN ART MAKING ACTIVITY DIRECTLY RELATED TO THE STORY. CULTURAL CELEBRATION WORKSHOPS ARE AN INTEGRAL PART OF EL MUSEO'S GROUP VISITS PROGRAM AND INCLUDE FESTIVITIES LIKE DAY OF THE DEAD, THREE KINGS DAY AND EXTEND TO INCLUDE OUR AROUND THE BLOCK WALKING TOUR PROGRAM. THESE THREE PROGRAMS ARE OFFERED DURING VARIOUS TIMES THROUGHOUT THE YEAR AND INTRODUCE VISITORS OF ALL AGES TO THE DIVERSE TRADITIONS CELEBRATED IN EAST HARLEM, THROUGHOUT THE US, LATIN AMERICA AND THE CARIBBEAN. THESE SPECIAL WORKSHOPS ARE 90 MINUTE TOURS AND ARE ALSO LED BY MEMBERS OF OUR MUSEUM AND ARTIST EDUCATOR TEAM. EL MUSEO OFFERS ADULT TOURS AND WORKSHOPS: OUR TOURS AND WORKSHOPS ARE TAILORED TO OUR DIVERSE AUDIENCE INCLUDING PRIVATE GROUPS, COMMUNITY ORGANIZATIONS, COLLEGE STUDENTS, OLDER ADULTS, AND ADULT LANGUAGE LEARNERS. PROGRAMS ARE OFFERED IN SPANISH, ENGLISH OR AS BILINGUAL TOURS. IN ADDITION, DURING FY 23, THE EDUCATION DEPT BEGAN TO OFFER FREE PUBLIC TOURS FOR VISITORS ON SATURDAYS AND SUNDAYS. DURING THE 2023 FISCAL YEAR THE FOLLOWING VIRTUAL AND IN-PERSON GUIDED VISITS WERE OFFERED: STORYTELLING WAITING FOR THE BIBLIOBURRO/TITO PUENTE: MAMBO KING, HONORING OUR LOVED ONES: CULTURAL CELEBRATION WORKSHOP: DIA DE MUERTOS (OCTOBER-NOVEMBER), THREE KINGS: MULTICULTURAL CONNECTIONS, AROUND THE BLOCK WALKING TOUR, AND PROGRAMS RELATED TO THE EXHIBITIONS: RAPHAEL MONTAEZ ORTIZ - A CONTEXTUAL PERSPECTIVE, TALLER BORICUA: A POLITICAL PRINT SHOP IN NY, DOMESTICANX, JUAN FRANCISCO ELSO: POR AMRICA AND SOMETHING BEAUTIFUL. A TOTAL OF 7,173 STUDENTS, TEACHERS AND ADULTS WERE SERVED DURING FY 23 THROUGH ON-SITE GUIDED PROGRAMS. IN ADDITION, AS PART OF THE GUIDED VISIT PROGRAM, GROUP TRAINING SESSIONS AND INDIVIDUALIZED TRAINING SESSIONS WERE OFFERED THROUGHOUT THE YEAR TO THE TEAM OF MUSEUM EDUCATORS, IN CONJUNCTION WITH EXHIBITIONS, CULTURAL CELEBRATIONS AND OTHER GUIDED VISIT PROGRAMS. ACCESS PROGRAMS OFFER UNIQUE MUSEUM EXPERIENCES TO OLDER ADULTS AND INDIVIDUALS WITH ALZHEIMER'S AND DEMENTIA. DURING THE 2023 FISCAL YEAR THE FOLLOWING PROGRAMS WERE OFFERED: SU-CASA IS A COMMUNITY ARTS ENGAGEMENT PROGRAM THAT PLACES ARTISTS AND ORGANIZATIONS IN RESIDENCE AT SENIOR CENTERS ACROSS THE FIVE BOROUGHS OF NEW YORK CITY. THE PROGRAM, FUNDED IN FY23 BY THE NEW YORK CITY COUNCIL, PROVIDES GRANTS TO ARTISTS AND ORGANIZATIONS FOR THE CREATION AND DELIVERY OF ARTS PROGRAMMING FOR SENIORS. TEACHING ARTISTS ENGAGE PARTICIPATING SENIORS IN AN ART PROJECT OR SERIES OF CULTURAL PROGRAMS OVER THE COURSE OF THE RESIDENCY, WHICH ALSO INCLUDES A PUBLIC PROGRAM COMPONENT AN EXHIBIT, READING, PERFORMANCE, OPEN HOUSE OR OTHER CULTURAL INTERACTION OPEN TO THE SURROUNDING COMMUNITY. THE PROGRAM SUPPORTS RESIDENCIES FOR INDIVIDUAL ARTISTS AND CULTURAL ORGANIZATIONS AT SENIOR CENTERS ACROSS THE CITY'S 51 COUNCIL DISTRICTS. THIS INITIATIVE SEEKS TO CONNECT ARTISTS WITH SENIORS IN SENIOR CENTERS AND TO POSITIVELY IMPACT THE WELL-BEING OF OLDER ADULTS THROUGH ARTS-BASED ACTIVITIES. SU-CASA SUPPORTS ARTISTS AND ORGANIZATIONS SENSITIVE TO THE NEEDS OF OLDER ADULTS AND INTERESTED IN ENGAGING THEIR COMMUNITIES. DURING FY 23, TEACHING ARTIST AND EDUCATOR JULIA JUSTO PROVIDED IN-PERSON ART WORKSHOPS FOR SENIORS AT CARVER SENIOR CENTER IN EAST HARLEM, MANHATTAN (19 IN ATTENDANCE) AND RAICES ASTORIA SOCIAL SENIOR CENTER IN ASTORIA, QUEENS (17 IN ATTENDANCE) FOR OVER THE COURSE OF THREE MONTHS FROM APRIL TO JUNE. THEY EXPERIMENTED WITH VARIOUS ART FORMS INCLUDING ACRYLIC PAINT, STITCHING, COLLAGING, AND MORE.TEEN PROGRAMS PROVIDE OPPORTUNITIES FOR YOUTH OF THE FIVE BOROUGHS TO ENGAGE WITH THE MUSEUM'S MISSION THROUGH VARIOUS PROJECTS. IN FY23 EL MUSEO DEL BARRIO JOINED THE METROPOLITAN MUSEUM OF ART FOR A TEENS TAKE THE MET EVENT ON FRIDAY, MAY 12. EDUCATION DEPARTMENT STAFF ALONG WITHTEACHING ARTIST ELIEZER BERRIOS AND TWO HUNTER COLLEGE (CARE FOR THE FUTURE) INTERNS FACILITATED A "SOMETHING BEAUTIFUL: ARTMAKING STATION TO PROMOTE EL MUSEO'S NEW EXHIBITION AND PROGRAMS TO TEENS AT THIS MUSEUM-WIDE EVENT AT THE MET, ATTENDED BY MORE THAN 5,000 TEENS.FAMILY PROGRAMSCOQUI CLUB, DEVELOPED IN 2016, PROVIDES FAMILIES WITH CHILDREN (2-5 YEARS OLD), A SPACE TO LEARN, PLAY, EXPLORE, AND GROW IN A BILINGUAL ART MUSEUM SETTING. IN FY23 THE PROGRAM BEGAN TO TRANSITION FROM A VIRTUAL PROGRAM TO AN IN-PERSON PROGRAM OFFERED TWICE A MONTH WITH DIFFERENT THEMES FACILITATED BY EL MUSEO'S MUSEUM EDUCATORS. THE DEPARTMENT RELAUNCHED COQUI WITH AN IN-PERSON PROGRAM ON SATURDAY, DECEMBER 10, 2023, CELEBRATING THE WINTER HOLIDAYS. OUR EDUCATORS PREPARED A LESSON AND ART ACTIVITY USING THE BOOK A PIATA IN A PINE TREE BY PAT MORA. EDUCATORS AND PARTICIPANTS DISCUSSED HOLIDAY TRADITIONS PRACTICED IN SPANISH-SPEAKING COUNTRIES. ON FEBRUARY 4, 2023, WE HOSTED TWO IN-PERSON SESSIONS CENTERING ON BLACK HISTORY MONTH AND READ LIFE DOESN'T FRIGHTEN ME BY MAYA ANGELOU WITH ARTWORK BY JEAN MICHEL BASQUIAT. EDUCATORS AND PARTICIPANTS WERE ABLE TO DRAW CONNECTIONS TO THE STORY AS WELL AS THE ART DISPLAYED IN THE JUAN FRANCISCO ELSO EXHIBITION. COQUI CLUB RETURNED TO FULLY ONSITE PROGRAMMING ON THE FIRST SATURDAY AND THIRD WEDNESDAY OF THE MONTH DURING MARCH, APRIL AND MAY. IN MARCH, WE CELEBRATED WOMEN'S HISTORY MONTH BY READING MY NAME IS CELIA: THE LIFE OF CELIA BY MONICA BROWN AND ENGAGED WITH AN ARTWORK BY BELKIS AYON DRAWING CONNECTIONS BETWEEN TWO STRONG AFROLATINA CREATIVE FORCES. WE CELEBRATED THE WELCOMING OF SPRING AND PLANTED SEEDS DURING OUR APRIL SESSIONS. DURING THE MONTH OF MAY WE HONORED AAPI MONTH AS WELL AS MOTHER'S AND CAREGIVERS, WHERE WE INTRODUCED THE NEW SOMETHING BEAUTIFUL EXHIBITION AND THE ART OF MYRNA BAEZ. WE HOSTED A DRAG QUEEN STORY HOUR FOR OUR PRIDE SESSION ON JUNE 10, AND A SECOND PRIDE SESSION ON JUNE 21., ADDITIONAL RESOURCE MATERIALS ARE SHARED FOLLOWING EACH PROGRAM SO THAT FAMILIES CAN LEAD ART MAKING EXPERIENCES AT HOME. OVER 300 CHILDREN AND ADULTS PARTICIPATED IN THESE PROGRAMS IN FY 23. 1468249 202073 4906288 1 1 0 1 0 0 0 1 0 1 1 0 0 0 0 1 1 0 0 0 0 0 0 0 1 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 137 0 1 98 1 0 0 0 0 0 1 1 0 0 0 0 0 0 X 22 22 0 0 0 0 0 0 0 1 1 0 0 1 1 1 1 1 1 1 0 0 NY X X PATRICK CHARPENEL- EXECUTIVE DIRECTOR 2128317272 1230 FIFTH AVENUE NEW YORK NY 10029 MARIA EUGENIA MAURY CHAIR 5.00 X X 0 0 0 CLAUDIA MARMOLEJO SECOND VICE CHAIR 5.00 X X 0 0 0 ALFONSO BARROS TREASURER 5.00 X X 0 0 0 STANLEY STAIRS SECRETARY 5.00 X X 0 0 0 ANTONIO BECHARA CHAIR EMERITUS 2.00 X X 0 0 0 AGUSTIN COPPEL LUKEN TRUSTEE 2.00 X 0 0 0 VICTORIA ESPINOSA TRUSTEE 2.00 X 0 0 0 KARLA HARWICH TRUSTEE 2.00 X 0 0 0 MONICA VIDAL TRUSTEE 2.00 X 0 0 0 MARIA MARTINEZ DE LA CRUZ TRUSTEE 2.00 X 0 0 0 MARCELO ETCHEBARNE TRUSTEE 2.00 X 0 0 0 JUAN DOMINGO BECKMANN TRUSTEE 2.00 X 0 0 0 ISABEL NAZARIO TRUSTEE 2.00 X 0 0 0 J PATRICK COLLINS TRUSTEE 2.00 X 0 0 0 AGOSTINA PECHI TRUSTEE 2.00 X 0 0 0 MONICA TAVARES TRUSTEE 2.00 X 0 0 0 RAMIRO ORTIZ MAYORGA TRUSTEE 2.00 X 0 0 0 GABRIELA PALMIERI TRUSTEE 2.00 X 0 0 0 GILBERTO CARDENAS TRUSTEE 2.00 X 0 0 0 PEDRO PEDRAZA TRUSTEE 2.00 X 0 0 0 YOLANDA SANTOS TRUSTEE 2.00 X 0 0 0 ANDREA TOVAR TRUSTEE 2.00 X 0 0 0 PATRICK CHARPENEL EXECUTIVE DIRECTOR 35.00 X 333369 0 15262 CARLOS GALVEZ DEPUTY EXECUTIVE DIRECTOR 35.00 X 249997 0 4990 EVELYN RIVERA DIRECTOR OF FINANCE & ADMINISTRATION 35.00 X 182829 0 20074 HEATHER NORGARD DIRECTOR OF DEVELOPMENT 35.00 X 207499 0 36760 RODRIGO TEIXERIA LOPES MOURA CHIEF CURATOR 35.00 X 152094 0 29577 1125788 0 106663 5 0 1 0 HELENA VIDAL 5 ROCK HILL ROAD ARMONK NY 10504 EDUCATION CONSULTANT 108735 1 94335 834790 954296 2028348 3911769 FACILITIES AND OTHER RENTAL 532000 311661 311661 ADMISSIONS AND WORKSHOPS 711130 79753 79753 PROGRAM REVENUE 711130 79710 79710 EVENT TICKET SALES 711130 32610 32610 TRAVELLING EXHIBITION 711130 10000 10000 513734 299486 299486 311810 834790 459685 -147875 -147875 70421 29585 40836 40836 327 327 327 4618277 554570 0 151938 X 600131 257709 259445 82977 2462667 1680604 403553 378510 264423 167535 57098 39790 338252 216546 71409 50297 279138 176858 60276 42004 34125 34125 51741 51741 1036902 803398 118965 114539 36905 35180 1725 181289 142576 31759 6954 170221 115459 9832 44930 720737 154669 564685 1383 43098 33666 9150 282 52826 52826 361436 229001 78047 54388 79256 19839 59417 EXHIBITION COSTS 544383 439826 5023 99534 COLLECTIONS 420396 420396 BAD DEBT EXPENSE 41025 41025 13822 13026 796 7732773 4906288 1909172 917313 1288846 1516891 6096173 3601745 712030 557046 610691 750209 40475 44699 129737 97721 7960052 3822281 4368052 4137771 882907 106138 14128911 10812220 689709 1300179 329369 25400 1069528 559907 2088606 1885486 X 7732275 7313785 4308030 1612949 12040305 8926734 14128911 10812220 -3114496 925 0 X 0 1 X 1 0 X 4525332 15093782 5376644 3275337 3911769 32182864 4525332 15093782 5376644 3275337 3911769 32182864 4714037 27468827 104073 44178 9736 82152 299486 539625 9151 4956 126159 34755 326 175347 32897836 2164488 0.83500 0.87360 X RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED RESTRICTED 0 0 0 0 0 1 0 0 0 0 0 PART II-B, LINE 1, LOBBYING ACTIVITIES: EL MUSEO IS PART OF THE NYC CULTURAL INSTITUTIONS GROUP (CIG), A CONSORTIUM OF 34 CULTURAL INSTITUTIONS ON CITY-OWNED PROPERTY. AS A GROUP, THE CIG EMPLOYS A LOBBYIST WHO DOES ADVOCACY WORK AROUND ISSUES PERTAINING TO OUR INSTITUTIONS AND CONSTITUENCIES. X X X 1 99765 8103 107868 98566 1199 99765 100000 -1434 98566 98815 2575 1390 100000 100000 -1185 98815 0.07290 0.92710 0 0 6786273 2765646 4020627 967988 850844 117144 205791 205791 0 4137771 X 6239898 925 1591111 29585 1621621 4618277 0 4618277 9353469 1591111 29585 1620696 7732773 0 7732773 PART III, LINE 1A: THE COLLECTION, WHICH INCLUDES PAINTINGS, SCULPTURE AND OTHER WORKS OF ART, WAS ACQUIRED THROUGH PURCHASES AND CONTRIBUTIONS SINCE THE ORGANIZATION'S INCEPTION, AND IS NOT RECOGNIZED AS AN ASSET ON THE STATEMENT OF FINANCIAL POSITION. THE COLLECTION IS HELD FOR PUBLIC EDUCATION OR RESEARCH IN FURTHERANCE OF PUBLIC SERVICE RATHER THAN FINANCIAL GAIN. COLLECTION ITEMS ARE EXPENSED WHEN PURCHASED. CONTRIBUTED COLLECTION ITEMS ARE NOT REFLECTED ON THE FINANCIAL STATEMENTS. PROCEEDS FROM DEACCESSIONS OR INSURANCE RECOVERIES ARE CLASSIFIED IN THE APPROPRIATE NET ASSET CLASS. THE COLLECTION IS SUBJECT TO A POLICY THAT REQUIRES PROCEEDS FROM DE-ACCESSIONING TO BE USED TO ACQUIRE OTHER ITEMS FOR THE COLLECTION. PART III, LINE 4: IN KEEPING WITH ITS MISSION TO PRESERVE, INTERPRET AND PROMOTE THE ARTISTIC HERITAGE OF PUERTO RICANS AND ALL LATIN AMERICANS, COLLECTING HAS BEEN A PRIORITY DEPENDENT ON THE GENEROSITY OF ARTISTS AND DONORS. THE COLLECTION HAS BEEN CONSISTENTLY AT THE HEART OF OUR EDUCATIONAL MISSION; THE OBJECTS HAVE BEEN UNDERSTOOD AS CONTAINERS OF MEANING THAT RESULTED FROM THE MAKERS PERSONAL, CULTURAL, HISTORICAL AND GEOGRAPHICAL CONDITION SERVING AS BOTH CHRONICLERS AND SIGNIFIERS OF COMPLEX MOMENTS, PLACES AND TIMES. THE WORKS COLLECTED BY EL MUSEO ARE AT THE HEART OF OUR MISSION AS A MUSEUM AND CULTURAL CENTER. NOW 6,500 OBJECTS STRONG, THE COLLECTION IS ROOTED IN WORK BY THE PUERTO RICAN ARTISTS OF OUR FOUNDING COMMUNITY, AND HAS GROWN TO INCLUDE ART FROM DIVERSE CARIBBEAN, LATINO, AND LATIN AMERICAN CULTURES. OVERVIEW EL MUSEO DEL BARRIO IS THE PREEMINENT FORUM AND RESOURCE IN THE U.S. DEDICATED TO CARIBBEAN, LATINO, AND LATIN AMERICAN ART. THE MUSEUM CARES FOR A DIVERSE, 6,500 OBJECT PERMANENT COLLECTION OF CARIBBEAN, LATINO AND LATIN AMERICAN ART, UNIQUE IN THE UNITED STATES. THE HOLDINGS DIVIDE INTO FOUR MAIN AREAS: I. MODERN AND CONTEMPORARY ART, PARTICULARLY STRONG IN POST WAR (1950 -THE PRESENT) WORKS, INCLUDING PAINTINGS (OVER 400), PHOTOGRAPHY (OVER 700), AND OTHER CONTEMPORARY, MIXED-MEDIA AND THREE-DIMENSIONAL AND TIME-BASED FORMS, SUCH AS VIDEO, PRIMARILY CREATED BY NEW YORK-BASED LATINO ARTISTS (IN TOTAL, OVER 1,500 WORKS). II. GRAPHICS, INCLUDING AN EXCELLENT REPRESENTATION OF PUERTO RICAN,NUYORICAN, MEXICAN, AND CHICANO FINE PRINTS THROUGH THE 20TH AND 21ST CENTURIES (OVER 4,000 WORKS); III. TAINO NO PRE-COLUMBIAN, PAN-CARIBBEAN ARCHEOLOGICAL OBJECTS, PRIMARILY FROM PUERTO RICO AND THE DOMINICAN REPUBLIC, AS WELL AS FINE PHOTOGRAPHS, GRAPHICS AND CONTEMPORARY WORKS THAT HAVE BEEN INFLUENCED BY THE TAINO LEGACY (OVER 460 WORKS); AND IV. POPULAR TRADITIONS, INCLUDING SANTOS DE PALO (OVER 300, PRIMARILY FROM PUERTO RICO) AND OTHER DEVOTIONAL ARTS FROM THE SANTERIA, CANDOMBLE AND ORISHA-WORSHIP TRADITIONS, MASKS (OVER 80, PRIMARILY FROM MEXICO AND GUATEMALA) AND OBJECTS RELATED TO THE CELEBRATION OF DIA DE LOS MUERTOS (OVER 500 OBJECTS IN TOTAL). V. EL MUSEO'S COLLECTIONS FURTHER THE ORGANIZATION'S EXEMPT PURPOSE IN THE FOLLOWING WAYS: 1) THEY ALLOW US TO PRESERVE ART FROM VARIOUS IMPORTANT CATEGORIES FOR FUTURE GENERATIONS; 2) THE ALLOW US TO ORGANIZE EDUCATIONAL PROGRAMS AND CLASSES BASED AROUND THE PERMANENT COLLECTION OBJECTS; 3) THEY MAKE UP A UNIQUE SET OF HOLDINGS IN ARTISTIC PRODUCTION NOT SEEN AT OTHER INSTITUTIONS. PART V, LINE 4: THE MUSEUM MAINTAINS DONOR-RESTRICTED FUNDS WHOSE PURPOSE IS TO PROVIDE LONG TERM SUPPORT FOR ITS SPECIAL EXHIBITIONS. IN CLASSIFYING SUCH FUNDS FOR FINANCIAL STATEMENT PURPOSES AS PERMANENTLY RESTRICTED, TEMPORARILY RESTRICTED OR UNRESTRICTED NET ASSETS THE BOARD OF TRUSTEES LOOKS TO EXPLICIT DIRECTION OF THE DONOR AND PROVISIONS OF THE NEW YORK PRUDENT MANAGEMENT OF INSTITUTIONAL FUNDS ACT ("NYPMIFA"). PART X, LINE 2: THE ORGANIZATION RECOGNIZES AND MEASURES ITS UNRECOGNIZED TAX BENEFITS IN ACCORDANCE WITH FASB ASC 740, INCOME TAXES. UNDER THIS GUIDANCE, THE ORGANIZATION ASSESSES THE LIKELIHOOD, BASED ON THEIR TECHNICAL MERIT, THAT TAX POSITIONS WILL BE SUSTAINED UPON EXAMINATION BASED ON THE FACTS, CIRCUMSTANCES, AND INFORMATION AVAILABLE AT THE END OF EACH PERIOD. THE MEASUREMENT OF UNRECOGNIZED TAX BENEFITS IS ADJUSTED WHEN NEW INFORMATION IS AVAILABLE OR WHEN AN EVENT OCCURS THAT REQUIRES A CHANGE. MANAGEMENT HAS EVALUATED THE ORGANIZATION'S TAX POSITIONS AND HAS CONCLUDED THAT THE ORGANIZATION HAS TAKEN NO UNCERTAIN TAX POSITIONS THAT REQUIRE ADJUSTMENT TO THE FINANCIAL STATEMENTS. PART XI, LINE 2D - OTHER ADJUSTMENTS: RE-CLASS OF COST OF GOODS SOLD TO FORM 990, PART VIII 29,585. PART XII, LINE 2D - OTHER ADJUSTMENTS: RE-CLASS OF COST OF GOODS SOLD TO FORM 990, PART VIII 29,585. GALA 1146600 834790 311810 257204 101764 100717 1146600 834790 311810 257204 101764 100717 459685 -147875 X X X X 0 0 0 0 0 0 0 0 0 PATRICK CHARPENEL EXECUTIVE DIRECTOR 333369 0 0 0 0 0 0 0 15262 0 348631 0 0 0 CARLOS GALVEZ DEPUTY EXECUTIVE DIRECTOR 249997 0 0 0 0 0 4990 0 0 0 254987 0 0 0 HEATHER NORGARD DIRECTOR OF DEVELOPMENT 207499 0 0 0 0 0 0 0 36760 0 244259 0 0 0 EVELYN RIVERA DIRECTOR OF FINANCE & ADMINISTRATION 182829 0 0 0 0 0 0 0 20074 0 202903 0 0 0 RODRIGO TEIXERIA LOPES MOURA CHIEF CURATOR 152094 0 0 0 0 0 0 0 29577 0 181671 0 0 0 FORM 990, PART VI, SECTION B, LINE 11B THE 990 DRAFT IS REVIEWED BY THE DIRECTOR OF FINANCE, DEPUTY EXECUTIVE DIRECTOR, EMAILED TO BOARD FOR COMMENTARY AND THEN REVIEWED AND SIGNED OFF BY THE EXECUTIVE DIRECTOR. FORM 990, PART VI, SECTION B, LINE 12C EL MUSEO CURRENTLY HAS IN PLACE A CONFLICT OF INTEREST POLICY WHICH IS MONITORED AND ENFORCED ANNUALLY. THE WRITTEN CONFLICT OF INTEREST POLICY APPLIES TO ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES OF EL MUSEO. ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE REQUIRED TO DISCLOSE ANY POSSIBLE POTENTIAL CONFLICT OF INTEREST. ALL BOARD MEMBERS, OFFICERS, AND KEY EMPLOYEES ARE ALSO REQUIRED TO ANNUALLY SIGN AND SUBMIT A STATEMENT TO THE SECRETARY OF EL MUSEO TO AFFIRM THAT THEY HAVE RECEIVED A COPY OF THE CONFLICT OF INTEREST POLICY AND HAVE READ AND UNDERSTAND THE POLICY AND HAVE AGREED TO COMPLY WITH THE POLICY. ANY REPORTED CONFLICTS ARE ADDRESSED BY THE DIRECTOR OR HIS /HER DESIGNEE AND FOLLOWED UP AS APPROPRIATE, WITH BOARD'S EXECUTIVE COMMITTEE. IF AN INDIVIDUAL HAS A CONFLICT OF INTEREST, HE/SHE WOULD BE EXCUSED FROM PARTICIPATING IN THE REVIEW/VOTE OF THAT PARTICULAR CONFLICT. THE MINUTES OF THE MEETING OF THE BOARD SHALL REFLECT THAT THE CONFLICT OF INTEREST WAS DISCLOSED AND THAT THE INTERESTED PERSON WAS NOT PRESENT DURING THE FINAL DISCUSSION OR VOTE AND DID NOT VOTE. FORM 990, PART VI, SECTION B, LINE 15A THERE IS NO FORMAL POLICY IN PLACE THE BOARD USUALLY CREATES A COMMITTEE AND WILL APPROVE EMPLOYEE AND RATE OF PAY. FORM 990, PART VI, SECTION C, LINE 19 THE FINANCIAL STATEMENTS, CONFLICT OF INTEREST POLICY, FORM 1023, AND BY-LAWS ARE ALSO AVAILABLE UPON WRITTEN REQUEST AT 1230 FIFTH AVENUE, NEW YORK, NY 10029. FORM 990, PART IX, LINE 11G PROFESSIONAL FEES: PROGRAM SERVICE EXPENSES 785,242. MANAGEMENT AND GENERAL EXPENSES 112,777. FUNDRAISING EXPENSES 110,227. TOTAL EXPENSES 1,008,246. PAYROLL PROCESSING: PROGRAM SERVICE EXPENSES 18,156. MANAGEMENT AND GENERAL EXPENSES 6,188. FUNDRAISING EXPENSES 4,312. TOTAL EXPENSES 28,656.