A New Era of Accountability at the Metropolitan Museum of Art
From his office on the top floor of the Metropolitan Museum of Art, Lucian Simmons oversees a monumental task. As the Met’s new head of provenance research, Simmons is responsible for ensuring the integrity of the museum’s vast collection of 1.5 million objects spanning 5,000 years of human history. This role is not just administrative; it is deeply ethical, requiring Simmons to address decades of questionable collecting practices and restore the museum’s reputation as a leader in scholarship and integrity. The Met’s collection, amassed over 155 years, is a testament to human creativity and history, but it also carries the weight of unresolved ethical dilemmas. Simmons’ appointment in May 2022 marked a turning point for the museum, signaling a renewed commitment to transparency and accountability in the face of increasing scrutiny over its acquisition practices.
Simmons brings a unique blend of legal expertise, art market experience, and a passion for art to his role. Before joining the Met, he served as the head of the restitution department at Sotheby’s, where he grappled with the complex histories of artworks being sold at auction. His transition to the Met reflects a broader shift in the art world, where institutions are being held to higher standards of ethical accountability. The museum’s decision to create Simmons’ position underscores its acknowledgment of past shortcomings and its determination to move forward with greater rigor. “My reception at the Met has been incredibly generous,” Simmons remarked, noting the openness of staff to delve into provenance issues. This willingness to confront uncomfortable truths is crucial as the museum navigates a challenging landscape of historical and ethical complexities.
The Challenge of Provenance in the Modern Museum
The Metropolitan Museum of Art is not alone in facing questions about the origins of its collection. In recent years, museums worldwide have been forced to confront the legacy of acquiring artifacts and artworks under conditions that, by today’s standards, would be considered unethical or even illegal. For the Met, this reckoning has been particularly pressing. Since 2017, the Manhattan district attorney’s office has seized 74 works of art from the museum, including 22 on loan and 55 Etruscan amber carvings, citing evidence that these objects were looted. These seizures, along with others by federal authorities, have raised questions about the museum’s past collecting practices and whether other objects in its collection may have unclear or problematic provenance.
In response to these challenges, the Met has taken steps to demonstrate its commitment to transparency. It now publishes two inventories on its website: one for antiquities that have been restituted and another for artworks that have been removed from the collection after being identified as likely looted during World War II. These measures are part of a broader effort to engage with the public and the academic community about the museum’s provenance research. Simmons has also expanded the team of analysts dedicated to provenance research, increasing its size from six to 11 members. This team is tasked with identifying and investigating objects in the collection that may have been acquired through questionable means, particularly those linked to dealers with tainted reputations.
One notable example of the museum’s new approach is the repatriation of the ancient bronze head of a griffin to Greece. The artifact, which had been part of the Met’s collection since 1972, was determined to have been stolen from an archaeological museum in Olympia in the 1930s. This repatriation marked a significant step in Simmons’ tenure, as it highlighted the museum’s willingness to address past injustices. Simmons has also introduced a more stringent culture of scrutiny within the institution, encouraging curators to ask tougher questions and conduct more thorough research before acquiring new works. “I’m paranoid, and I’m paid to be paranoid,” Simmons said, emphasizing his commitment to uncovering the full history of each object.
A Shift in Museum Practices: From Acquisition to Accountability
The Met’s shift toward greater accountability reflects a broader transformation in the museum world. For much of the 20th century, museums competed to acquire remarkable objects with little scrutiny of their origins. The art market operated with minimal regulation, and countries often failed to enforce their own patrimony laws. Museums, too, often adopted provenance research protocols in name only, without fully implementing them. This laissez-faire approach allowed many institutions to build collections that would later come under question.
In recent years, however, the landscape has changed dramatically. Countries have begun to enforce their cultural heritage laws more rigorously, demanding the return of stolen artifacts and highlighting the damage caused by commercial looting to archaeological sites. Museums, in turn, have been compelled to reevaluate their collecting practices and adopt more transparent and ethical approaches. The Met’s decision to create a high-level position dedicated to provenance research is part of this trend. By elevating Simmons to this role, the museum has signaled its commitment to addressing the ethical challenges posed by its collection.
Simmons’ Background and the Transition to Museum Work
Lucian Simmons’ appointment as the Met’s head of provenance research has been met with both praise and skepticism. Simmons’ background in the commercial art world—at Sotheby’s, where he led the restitution department—has raised questions about whether he can navigate the moral and ethical demands of a museum environment. Elizabeth Marlowe, a professor of art and museum studies at Colgate University, noted that the ethical bar for a public institution like the Met is far higher than for a private company like Sotheby’s. “It’s that moral landscape that’s completely different at a museum,” she said, emphasizing the need for transparency and accountability.
Simmons, however, has already demonstrated his commitment to these principles. During his time at Sotheby’s, he built a reputation for his meticulous approach to restitution cases, particularly those involving artworks looted during World War II. He also gained experience in antiquities repatriation, a skill that will be invaluable in his new role. Simmons’ transition to the Met has been facilitated by his deep understanding of both the legal and ethical dimensions of provenance research. His ability to navigate complex historical and legal landscapes will be crucial as the museum confronts the challenges of its collection.
The Road Ahead: Balancing Scholarship and Accountability
As Simmons and his team work to address the ethical complexities of the Met’s collection, they face a daunting task. The museum’s priority is to examine antiquities acquired since the 1970 UNESCO convention, which sought to halt the trafficking of stolen cultural property. This period, which saw the rise of commercial dealers like Robert Hecht, is particularly problematic, as lax standards allowed many questionable acquisitions. The Met has already identified 56 works linked to Hecht, his galleries, or his family members, and it is actively investigating the provenance of these objects.
Simmons has also turned his attention to looted artworks from World War II, diving into archives such as the Rosenberg & Stiebel gallery archive and the Rothschild family archives in Britain. His work has already led to updates in the provenance records of hundreds of objects, including an 18th-century British tea casket and a 14th-century terra-cotta sculpture, both of which were confiscated by the Nazis before entering the Met’s collection. These updates are not just bureaucratic exercises; they are a way of acknowledging the complex and often painful histories of the objects in the museum’s care.
As the Met moves forward, Simmons is conscious of the need to balance thoroughness with urgency. While some critics argue that the museum could act faster in repatriating contested objects, Simmons defends a more measured approach. “We have a fiduciary responsibility to get it right,” he said, emphasizing the importance of conducting exhaustive research before making decisions. This approach is particularly important in cases involving objects from countries like Cambodia, where officials are seeking the return of dozens of artifacts they believe were looted during the country’s civil war. Simmons has promised to investigate these claims thoroughly, working closely with federal officials and international partners.
Conclusion: A Legacy of Integrity and Stewardship
The Metropolitan Museum of Art stands at a crossroads, tasked with confronting the ethical challenges of its past while building a future rooted in transparency and accountability. Lucian Simmons’ appointment as head of provenance research represents a significant step in this journey. His work is not just about correcting past errors; it is about creating a legacy of integrity and stewardship that will define the museum for generations to come.
As the Met continues to navigate this complex terrain, Simmons’ leadership will be crucial. His ability to bridge the worlds of scholarship, law, and ethics—along with his unwavering commitment to uncovering the truth—positions him as a key figure in the museum’s transformation. The road ahead will be long and challenging, but with Simmons at the helm, the Met is taking bold steps toward a future where its collection is not only celebrated for its beauty and historical significance but also respected for the ethical principles that guide its stewardship.
