The report from the Art Workers Coalition hearing on April 10, 1969 printed in order to bring each artists' opinion on museum reform to the attention of all art workers and all art institutions in New York City and elsewhere. Includes contributions in the form of statements by Carl Andre, Architects Resistance, Robert Barry, Gregory Battcock, Jon Bauch, Ernst Benkert, Don Bernshouse, Gloria Greenberg Bressler, Selma Brody, Bruce Brown, Bob Carter, Fredrick Castle, Rosemarie Castoro, Michael Chapman, Iris Crump, John Denmark, Joseph Di Donato, Mark Di Suvero, George Dworzan, Farman, Hollis Frampton, Dan Graham, Chuck Ginnever, Bill Gordy, Alex Gross, Hans Haacke, Clarence Hagin, Harvey, Gerry Herman, Frank Hewitt, D. Holmes, Robert Huot, Ken Jacobs, Joseph Kosuth, David Lee, Naomi Levine, Sol LeWitt, Lucy Lippard, Tom Lloyd, Lee Lozano, Len Lye, James McDonald, Edwin Mieczkowski, Vernita Nemec, Barnett Newman, John Perreault, Stephen Phillips, Lil Picard, Peter Pinchbeck, Joanna Pousette-Dart, Barbara Reise, Faith Ringold, Steve Rosenthal, Theresa Schwarz, Seth Siegelaub, Gary Smith, Michael Snow, Anita Steckel, Carl Strueckland, Gene Swenson, Julius Tobias, Jean Toche, Ruth Vollimer, Iain Whitecross, Jay Wholly, Ann Wilson, and Wilbur Woods.
“The hearing was preceded by a list of thirteen demands to the Museum of Modern Art and demonstrations supporting them which emphasized artists’ rights: legal, legislative and loosely political; they were the product of the newly named AWC.
1. The Board of Trustees of all museums should be made up of 1/3 museum staff, 1/3 patrons and 1/3 artists, if it is to continue to act as the policy-making body of the museum. All means should be explored in the interest of a more open-minded and democratic museum. Artworks are a cultural heritage that belong to the people. No minority has the right to control them; therefore, a board of trustees chosen on a financial basis must be eliminated.
2. Admission to all museums should be free at all times and they should be open evenings to accommodate working people.
3. All museums should decentralize to the extent that their activities and services enter Black, Puerto Rican and all other communities. They should support events with which these communities can identify and that they control. They should convert existing structures all over the city into relatively cheap, flexible branch museums or cultural centers that could not carry the stigma of catering only to the wealthier sections of society.
4. A section of all museums under the direction of Black and Puerto Rican artists should be devoted to showing the accomplishments of Black and Puerto Rican artists, particularly in those cities where these (or other) minorities are well represented.
5. Museums should encourage female artists to overcome centuries of damage done to the image of the female as an artist by establishing equal representation of the sexes in exhibitions and museum purchases and on selection committees…” — Lucy Lippard, “The Art Workers' Coalition: Not a History,” Studio International, November 1970.