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Tate desperately needs a radical overhaul – but will its new director really be an agent of change?
Guardian art critic Jonathan Jones argues that Tate faces a mounting crisis and urgently needs radical reform, questioning whether newly appointed director Jessica Morgan, despite being billed as "an agent of change", is bold enough to deliver it. Morgan, a respected contemporary art curator who previously led New York's Dia Art Foundation and earlier worked at Tate Modern, brings strengths that Jones fears will keep the institution within its comfortable existing groove rather than prompting genuine transformation.
Jones highlights specific failings, including Tate Britain's neglect of older British art in favour of Victorian-onwards exhibitions, an over-hyped and "problematic" Frida Kahlo show, a widely panned Turbine Hall installation by Máret Ánne Sara, and the perennially disappointing Turner prize. He attributes these to a culture of institutional self-belief that treats criticism as hostility, and criticises Tate's heavy reliance on branding and PR, including the pre-emptive artist endorsements accompanying Morgan's appointment. He calls on her to fundamentally rethink the organisation, including its satellite sites such as Tate St Ives.
In short
- Jessica Morgan named new Tate director amid calls for reform
- Critic doubts she'll be a true "agent of change"
- Cites Kahlo show, Turner prize and PR-driven branding as key failings
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Tate exhibits institutional dysfunction evidenced by poor curatorial choices and an insularity that dismisses rather than engages with legitimate criticism. Morgan's appointment from within the established contemporary art world risks cosmetic change rather than genuine transformation; whilst her Tate knowledge is valuable, it may come with inherited institutional assumptions that have produced these failures, rather than the fresh perspective needed for radical reform.
The case against
Morgan's unique position—combining intimate institutional knowledge with proven leadership at a respected external institution—positions her precisely to effect meaningful change. Her appointment reflects a calculated strategy of reform-from-within, where insider understanding of structural constraints is necessary to navigate institutional resistance; her track record at Dia demonstrates she possesses the curatorial vision and leadership capacity to drive substantive transformation.
Explained simply
Tate is a group of public art galleries in the UK, including Tate Britain and Tate Modern in London and Tate St Ives in Cornwall. Tate Britain looks after art from the country’s past and present, while Tate Modern focuses on modern and contemporary art. The galleries also stage temporary exhibitions and events, and Tate’s choices help shape how art is presented to a wide audience.
Jessica Morgan is a curator who has been appointed Tate’s new director. She previously led the Dia Art Foundation in New York and worked at Tate Modern. The director oversees the institution and its artistic direction, so the appointment brings questions about what may change across the galleries.
Debate about Tate often concerns which artists and periods receive attention, and how well exhibitions and events serve the public. Its role, reach and use of public support mean that decisions about its programme and priorities attract scrutiny.