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Max Hollein
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Max Hollein
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Max Hollein (born 7 July 1969)[1] is an Austrian art historian and the CEO and Director of the Metropolitan Museum of Art in New York City.[2] He was Director and CEO of the Fine Arts Museums of San Francisco from July 2016,[3] until April 2018, when the Metropolitan Museum of Art announced that Hollein would become its 10th director.[4]

Key Information

Hollein oversaw both the de Young and the Legion of Honor museums, which together are the seventh most-visited art institutions in the United States, with 1.4 million visitors in 2016.[5] Hollein joined the Fine Arts Museums in July 2016 from his position as the director of Schirn Kunsthalle Frankfurt, Städel Museum[6] and the Liebieghaus Skulpturensammlung.

Life

[edit]

Hollein was born in Vienna in 1969 to architect Hans Hollein and Helene Hollein. He studied art history at the University of Vienna and business administration at the Vienna University of Economics. During this period, he also free-lanced for the business section of the national daily newspaper "Der Standard". In 1995, following the successful completion of his studies with two master's degrees, one in art history and the other in business administration, he moved to New York City to take on the position of project director of exhibitions at the Solomon R. Guggenheim Museum in New York.

From 1996 until the end of 2000, he worked closely with Guggenheim director Thomas Krens, initially as "Executive Assistant to the Director" and, from 1998 onward, as "Chief of Staff and Manager of European Relations" responsible for key projects such as the establishment of the exhibition halls "Deutsche Guggenheim Berlin" and "Guggenheim Las Vegas". He was also involved in fundraising, travelling exhibitions, the inauguration activities at Guggenheim Bilbao as well as liaising with European cultural institutions, collectors, media, curators and sponsors.

Career

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Schirn Kunsthalle

[edit]

From 2001 to 2016, Hollein was the director of the Schirn Kunsthalle Frankfurt.[7] He repositioned the Schirn Kunsthalle Frankfurt nationally as well as internationally through a highly popular yet challenging exhibition programme from classical to contemporary art mounting up to ten major shows per year. The depth, quality and quantity of the programme has been accompanied by a significant increase in corporate funding. Among the highlights of the programme have been exhibitions such as "Shopping: A Century of Art and Consumer Culture", "Henri Matisse: Drawing with Scissors", "Yves Klein", "The Naked Truth: Klimt, Egon Schiele, Kokoschka and Other Scandals", "Women Impressionists" and "Edvard Munch. The Modern Eye". With projects such as "Playing the City 3" or "Street Art Brazil", he expanded his programming into urban spaces of Frankfurt.[8] At the Schirn, his frequent collaborator was noted art historian Olivier Berggruen. In 2007 Hollein advocated against the demolition of the Schirn Rotunda and instead initiated a commission series with contemporary artists like Barbara Kruger, Ayse Erkmen, Rosa Barba or Heather Phillipson to create site specific works at the rotunda.[9] Its online and digital outreach has been significantly advanced and the Schirn publishes its own wide-reaching online magazine "Schirn Mag" since 2011. 2014, Hollein opened the Minishirn – a creative space for children.[10][11] By 2019, the Schirn had attracted more than 8.8 million visitors to over 240 exhibitions. For many years now, the Schirn has been the most popular art institution in the Rhine-Main region.[12][13] In 2012 the Schirn had its best-attended year so far with a total of 479,121 visitors.[14]

Städel Museum

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In addition to his directorship at the Schirn, Hollein became the Director and CEO of the Städel Museum in 2006.[15] At the Städel Museum, Hollein introduced a wide spectrum of new exhibition formats. Hollein realised major exhibitions on the Old Masters, including "Cranach the Elder", "The Master of Flémalle and Rogier van der Weyden", and "From Titian to Tiepolo", "Botticelli", and "Albrecht Dürer" and "Maniera", as well as significant retrospectives on modern masters such as Ernst Ludwig Kirchner and Max Beckmann.[16][17] Under Hollein, special emphasis was also given to the development of the collection: between 2006 and 2012 more than 1,500 works were added to the collection, including previously underrepresented media such as photographs, and works by female artists. He expanded the Städel its holdings of contemporary art and started organizing exhibitions on contemporary artists such as Piero Manzoni and, John Baldessari, or and "Georg Baselitz: The Heroes".[18] Among the most significant projects worthy of mention in this context was the major expansion of the Städel Museum completed in 2012 which doubled the institution's gallery space and created a new wing for the presentation of art since 1945.[19] Both the architecture as well as the significant collection development were hailed by the public and the media. More than 50 percent of the 52 million euro construction costs were raised through private sources in an unprecedented fundraising campaign. The Städel was honoured as "Museum of the Year 2012" by the German art critics association AICA in 2012.[20] In the same year, the museum recorded its highest ever attendance numbers, with 447,395 visitors.[14] To mark the 200th anniversary of the Städel in 2015, Hollein significantly expanded the museum's reach with the launch of new digital education formats, such as Art History Online and Café Deutschland[21][22][23]

Liebieghaus Skulpturensammlung

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Under Hollein's directorship, from 2006 to 2016,[24] the Liebieghaus Skulpturensammlung underwent the greatest reorganisation of its infrastructure since 1990. The Art of Ancient Egypt and Antiquities, Middle Ages, Renaissance, Baroque to Neoclassicism as well as the "studioli" on the top floor of the museum villa were newly installed under his tenure and reopened in 2008 with an entirely new color and lighting concept. Funding for this major renovation came to a large extent from private and corporate sources. Exhibitions such as "Sahure – Death and Life of a Great Pharaoh", "Gods in Color ", "Franz Xaver Messerschmidt" were received with unprecedented attention. "Gods in Color" underlines the museum's leading role in polychromy research and became a traveling exhibition with more than 20 venues, including the Ny Ny Carlsberg Glyptotek Copenhagen, Vatican Museums Rome, Archeological Museum Istanbul, Getty Villa Los Angeles, or Palacio de las Bellas Artes Mexico.[25] Of note was also the exhibition "Jeff Koons: The Sculptor", as part of the two-part survey together with the Schirn Kunsthalle. In the presentation at the Liebieghaus, both world-renowned and new sculptural works by Koons entered into a dialogue with the historic building and its collection spanning 5,000 years of sculpture.[26]

In 2012 the Liebieghaus had 153,737 visitors, making it the best attended year in the history of the institution.[27]

Fine Arts Museums of San Francisco

[edit]

Hollein assumed the role of Director and CEO of the Fine Arts Museums of San Francisco on 1 June 2016.[28][29] In this capacity, he managed an operating budget of $60 million and over 500 employees.[4]

During his time in office, Hollein instituted a major restructuring of the museum organization and added the institution's first contemporary curator; Claudia Schmuckli.[30] He also successfully launched a contemporary art initiative, bringing the work of living artists into dialogue with the buildings and collections of the de Young Museum and Legion of Honor, with exhibitions by Urs Fischer, Sarah Lucas and Sarah Lucas and Julian Schnabel at the Legion of Honor and Carsten Nicolai and Leonardo Drew at the de Young museum.[31] In January 2017, the institution announced a significant new addition to its collection of American art through the acquisition of 62 works by 22 contemporary African American artists, including Thornton Dial's Blood And Meat: Survival For the World (1992) and Lost Cows (2000–1), Joe Light's Dawn (1988), Jessie T. Pettway's Bars and String-Pierced Columns (1950's), Lonnie Holley's Him and Her Hold the Root (1994) and Joe Minter's Camel at the Watering Hole (1995)), celebrated in the exhibition "Revelations: Art from the African American South".[32] Hollein opened several critically acclaimed exhibitions, including The Brothers Le Nain: Painters of Seventeenth Century France,[33] Frank Stella: A Retrospective,[34] Danny Lyon: Message to the Future,[35] Monet: The Earl Years[36] and Stuart Davis: In Full Swing.[37] Ed Ruscha and the Great American West, Cult of the Machine, and The Summer of Love Experience: Art, Fashion, and Rock & Roll which drew almost 270,000 visitors and 400.000 online visits from around the world, making the exhibition[38] the highest attendance in recent years.Hollein expanded the de Young furthermore on the encyclopedic focus of its program, with exhibitions such as Teotihuacan: City of Water, City of Fire, The Maori Portraits: Gottfried Lindauer's New Zealand, and Contemporary Muslim Fashions. This exhibition was especially praised for the curatorial consultation with and engagement of Muslim representatives from throughout the Bay Area.

Hollein also expanded the institution's educational outreach, including digital interactive tools to prepare for exhibitions, and the construction of the DeYoungster's Studio – a learning space that fosters children's curiosity and understanding of art.[39][40]

Metropolitan Museum of Art

[edit]

In April 2018, the Metropolitan Museum of Art announced that Hollein will become its 10th director.[4] He succeeded in a selection process whose finalists included Adam D. Weinberg, Julián Zugazagoitia, Emilie Gordenker, Timothy Rub, and Taco Dibbits.[4] His appointment was supported by many in the art world;[41][42][43] and criticized in three newspapers, The Guardian,[44] The New York Times[45] and The Observer[46] for being the 10th white man appointed to the position at the Met, suggesting the institution's lack of diversity. Hollein shared his vision for the present and future role of encyclopedic museums, and outlined that he aims for The Met's galleries and programming to present a range of perspectives on history and examine the intersection of cultures, rather than offer a singular, linear narrative.[47] Showcasing The Met's scholarly depth and breadth, exhibitions that have been opened since 2018 span across all 17 curatorial departments at The Met, and include exhibitions such as "Alice Neel: People Come First ", "The Medici. Portraits and Politics, 1512–1570", "Camp: Notes on Fashion", "Crossroads", "Jacob Lawrence: The American Struggle", "The Last Knight: The Art, Armor, and Ambition of Maximilian I", "Making The Met, 1870–2020", "Gerhard Richter: Painting After All", "Sahel: Art and Empires on the Shores of the Sahara", "The Tale of Genji: A Japanese Classic Illuminated, "Surrealism Beyond Borders", "Inspiring Walt Disney: The Animation of French Decorative Arts", and "Charles Ray: Figure Ground".[48][49][50]

Hollein has also engaged in broader cultural debates as The Met's Director, including penning an essay about the Museum's leadership responsibilities in upholding the policies and practices for the acquisition of art and archaeological materials, and protecting cultural heritage around the globe.[51] In 2020, Daniel H. Weiss and Max Hollein publicly announced The Met's commitments to Anti-Racism, Diversity, and the wellbeing of their communities. This plan includes the assessment of the Museum's history, the diversification of its collection and program, and the hiring and training of staff. One of the recent curatorial hires includes The Met's first full-time person of Indigenous descent hired for a curatorial position, Patricia Marroquin Norby.[52]

Early in his tenure, Hollein said he would focus on further injecting modern and contemporary art into The Met's main Fifth Avenue building.[53] He announced a comprehensive new program to that effect. The new annual façade commission was inaugurated in 2019 with Wangechi Mutu. For the inaugural Great Hall commission in 2019, The Met invited the Cree artist Kent Monkman, to create contemporary history paintings that serve as commentary on the Indigenous experience and colonialism, and consider The Met's collection with a critical eye.[54] Hollein also added its first-ever contemporary Period Room to its existing system of 29 period rooms, its so-called Afrofuturist Period Room titled "Before Yesterday We Could Fly", and among others, curated by Hannah Beachler and Michelle Commander. Hollein built on The Met's digital platforms to scale its educational initiatives and disseminate content.

During its COVID-19-related closure, the MET celebrated its 150th birthday. Despite difficult times and a forced lack of visitors, Hollein helped the museum achieve economic stability. The museum pivoted quickly to virtual programs and to highlight its digital offerings, which have seen a significant expansion since. By 2021, The Met saw over 30 million visitors annually to their website. Hollein also took a stand on social controversies on several occasions and acknowledged the fundamental right of artists to protest against the controversial Sackler funding.[55][56][57][58][59]

In lectures Hollein shares that The Met will invest in the next ten years to update the gallery system, with a special emphasis on refreshing and recontextualizing its narratives. Projects include $70 million renovation of its Michael C. Rockefeller Wing, that is home to the galleries for the arts of Africa, Oceania, and the Americas, Ancient Near Eastern and Cypriot Art, European Paintings, as well as the reenvisioning of the progress on previously announced plans to remodel its Modern Wing.[60][61]

In July 2019, the museum reported that it had over 7 million visitors for a third year in a row.[62]

In 2019, Hollein was a member of the jury that selected Doris Salcedo for the Nomura Art Award and to receive $1 million.[63]

Since July 2023 Hollein adds to his function as director the CEO title.[64] The move marks a return to the Met’s old leadership structure, wherein the director of the institution is responsible for both the programmatic direction of the museum as well as its day-to-day operations.[65]

Other activities

[edit]

Curator

[edit]
  • Venice Architecture Biennale 2000, US pavilion
  • Venice Art Biennale 2005, Austrian pavilion[66]
  • Art in the Lufthansa Innovation Center[67]
  • Salzburg Avantgarde-Festival "kontra.com" on the occasion of the Mozart Year 2006[68]

Corporate boards

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Non-profit organizations

[edit]

Personal life

[edit]

Hollein is married to fashion designer Nina Hollein; they have three children.[29][80]

Awards

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Selected publications

[edit]
  • Schnabel, Julian; Sofía, Museo Nacional Centro de Arte Reina (2004). Julian Schnabel (in German). Hatje Cantz Verlag. ISBN 978-3-7757-1386-3.
  • Berggruen, Olivier; Hollein, Max (25 April 2006). Henri Matisse: Drawing with Scissors. National Geographic Books. ISBN 978-3-7913-3473-8.
  • Berggruen, Olivier; Hollein, Max (2006). Picasso und das Theater. ISBN 978-3-7757-1872-1.
  • Odilon Redon, As in a Dream. 2007. ISBN 978-3-7757-1894-3.
  • Julian Schnabel: Symbols of Actual Life, release date 12 February 2019, by Max Hollein. Prestel, 2019.

Further reading

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Max Hollein

View on Grokipedia
from Grokipedia
Max Hollein is an Austrian art historian serving as the Marina Kellen French Director and Chief Executive Officer of the in since 2018. Born in , he earned a in from the and a master's in from the Vienna University of Economics. Prior to his appointment at the Met, Hollein directed the Fine Arts Museums of from 2016 to 2018, where he oversaw operations across two sites housing over 24,000 works of art. Before that, he led institutions in , including the Städel Museum, Schirn Kunsthalle Frankfurt, and Liebieghaus Skulpturensammlung, implementing expansions and innovative exhibitions that integrated with historical collections. At the Met, he assumed the CEO role in 2023 to consolidate leadership amid institutional challenges, including financial strains from the that prompted controversial of artworks to support conservation and acquisitions. Hollein's tenure has emphasized adapting encyclopedic museums to modern demands, such as enhanced digital access and reviews in response to pressures, while defending core missions of preservation and public engagement. He has supported policies like mandatory pay-what-you-wish admissions for out-of-state visitors to sustain operations, sparking debate over accessibility.

Early Life and Education

Upbringing in Vienna

Max Hollein was born in in 1969, the son of the influential postmodernist architect and Helene Hollein, who had worked as a fashion designer prior to marriage. His upbringing occurred amid Vienna's postwar cultural , where his family's intellectual and artistic circles provided early immersion in design and museum culture. Hans Hollein's pioneering projects, including collaborations with international figures, positioned the household as a hub for creative exchange, with family friends encompassing artists, actors, architects, authors, and designers. This environment emphasized architecture and cultural institutions as core elements of daily life, shaping Hollein's childhood through frequent exposure to exhibitions and professional events. For instance, as a young boy, he accompanied his family to the 1982 opening of the Museum Abteiberg in , a project tied to his father's network of visionary peers. Vacations and social activities mirrored these influences, prioritizing sites of artistic and historical significance over conventional leisure. Such experiences instilled a foundational appreciation for interdisciplinary , distinct from more conventional Viennese upbringings, though Hollein later pursued as a form of youthful divergence from familial norms. In his early years, Hollein engaged with specific artistic traditions, studying early , which aligned with Vienna's rich holdings of European masterpieces and his home's emphasis on visual heritage. This period laid the groundwork for his later curatorial interests, without formal training yet evident in the seamless blend of familial passion and personal curiosity.

Academic and Professional Training

Hollein earned a in from the , graduating summa cum laude. He also received a from the Vienna University of Economics and Business Administration. These dual degrees equipped him with scholarly expertise in art alongside managerial and economic acumen relevant to institutional leadership. His early professional experience commenced at the in New York, where he served as and executive assistant to director Thomas Krens. In this capacity, spanning the late , Hollein gained hands-on training in museum operations, strategic planning, and high-level administration during a period of expansion under Krens's tenure. This role preceded his assumption of directorial responsibilities in by about six years.

Museum Directorships

Schirn Kunsthalle Frankfurt

Max Hollein was appointed director of the Schirn Kunsthalle in 2001 at the age of 31, tasked with revitalizing an institution struggling with declining relevance and attendance. The Schirn, opened in as a venue for temporary exhibitions of modern and , had faced criticism for inconsistent programming prior to his arrival. Hollein, drawing on his prior experience in curatorial projects and , shifted the focus toward thematic shows that bridged historical and , emphasizing 19th- and 20th-century works to build a distinctive profile. Under Hollein's leadership, which extended until , the Schirn established an internationally recognized identity through ambitious, interdisciplinary exhibitions that attracted over a million visitors in peak years and garnered critical acclaim for innovative curation. He prioritized shows exploring cultural phenomena, such as in Shopping: A Century of Art and Consumer Culture (2002–2003), his first major project there, which examined 's intersection with from the onward. Other notable exhibitions included Rent Collection Courtyard (2008), presenting 100 Mao-era Chinese sculptures in their first Western showing, highlighting mass ; Paparazzi! Photographers, Stars and Artists (2014), co-organized with , tracing celebrity culture through photography; and Géricault: Images of Life and Death (2013), Germany's inaugural solo of the French Romantic painter . Hollein's tenure integrated the Schirn into Frankfurt's broader museum ecosystem after 2006, when he assumed oversight of the Museum and Liebieghaus while retaining directorship of the Schirn, fostering cross-institutional collaborations that enhanced resource sharing and programming synergy. This period marked a turnaround, with the Schirn evolving from a locally oriented hall to a platform for global dialogues on art's societal role, evidenced by shows like Ideal Worlds (2009), addressing contemporary , and Giacometti – Nauman (2016), juxtaposing Alberto Giacometti's sculptures with Bruce Nauman's installations. Critics noted his success in balancing commercial viability—through targeted and sponsorships—with intellectual depth, avoiding over-reliance on metrics as the sole success indicator. By 2016, Hollein's departure to the Fine Arts Museums of left the Schirn with a legacy of over 100 exhibitions that repositioned it as a key European venue for provocative, context-driven art presentations, contributing to 's status as a cultural hub.

Städel Museum and Liebieghaus

In January 2006, Max Hollein assumed directorship of the Städel Museum and the Liebieghaus Skulpturensammlung in , expanding his responsibilities alongside his existing role at the Schirn Kunsthalle . He led both institutions until June 2016, when he departed for the Fine Arts Museums of . Hollein's tenure at the Städel Museum emphasized infrastructural growth and programmatic integration of historical and contemporary art. He oversaw a major extension project completed in February 2012, which doubled the museum's exhibition space to approximately 12,000 square meters and introduced the underground Garden Halls—a 3,000-square-meter area dedicated to post-1960s works, funded partly by a €26 million renovation effort. This expansion enabled ambitious displays, including the 2015 bicentennial celebrations featuring exhibitions on artists from Claude Monet to John Baldessari. Key shows under his curation included "Monet and the Birth of Impressionism" (March–June 2015), showcasing over 80 works tracing the movement's origins, and "Georg Baselitz: The Heroes" (June–October 2016), presenting some 70 paintings from the artist's early series. At the Liebieghaus, Hollein focused on revitalizing the sculpture collection, which encompasses over 3,000 objects spanning five millennia from to the . Collaborating with architects Kuehn Malvezzi, he directed renovations that enhanced spatial flow and interpretive contexts, allowing for innovative juxtapositions of historical and modern sculptures, such as installing Koons's contemporary pieces amid and works. The museum advanced research into polychromy, with exhibitions like the 2008 display of color-reconstructed Greek replicas, including the Persian Horseman from the Athens Acropolis, highlighting original pigmentation on classical statues. These initiatives broadened curatorial scope, blending chronological surveys with thematic explorations to underscore sculpture's enduring dialogues across eras.

Fine Arts Museums of San Francisco

Max Hollein was appointed Director and CEO of the Fine Arts Museums of San Francisco (FAMSF) on March 22, 2016, assuming the role on June 1, 2016. In this position, he oversaw the in and the Legion of Honor in , managing more than 500 employees and an annual operating budget of approximately $60 million. Hollein's leadership emphasized integrating the institutions' operations while prioritizing and audience diversification. During his tenure, Hollein spearheaded significant acquisitions, including the purchase of 62 works by contemporary African American artists from the Souls Grown Deep Foundation, announced on February 2, 2017, to strengthen representation of self-taught artists from the American South. He also reversed prior operating deficits, achieving through . Hollein hired Claudia Schmuckli as the museums' first curator of , enabling exhibitions such as those featuring and interventions by Urs Fischer at the Legion of Honor. Initiatives included launching free digital exhibition guides, "artist's playground" projects at the , and expanded community events like free and Halloween programs to broaden public engagement. Hollein's programming focused on a mix of historical and contemporary shows, with 2017 highlights at the Legion of Honor including Monet: The Early Years (February), : The Centenary Installation (January), Degas, , and the Paris Millinery Trade (June), and (October), alongside the de Young's (April) and : City of Water, City of Fire (December). Planned for 2018 were Casanova (February) at the Legion of Honor and Contemporary Muslim Fashions (September) at the de Young, reflecting efforts to explore global cultural themes. These efforts supported a long-range plan for exhibitions, education, and outreach to enhance accessibility and scholarly depth. Hollein departed FAMSF in summer 2018 after his April 10, 2018, appointment as director of the , leaving a legacy of collection expansion and programmatic innovation during his approximately two-year term. His tenure was noted for injecting new energy into the institutions, though it occurred amid FAMSF's history of leadership turnover.

Metropolitan Museum of Art

Max Hollein was appointed as the tenth Director of The on April 10, 2018, succeeding Thomas P. Campbell, with the board citing his international experience in museum and curatorial innovation. He assumed the role later that year, overseeing the museum's artistic vision, curatorial departments, conservation efforts, exhibitions, and acquisitions for its collection of approximately 1.5 million objects spanning 5,000 years of global art. Under Hollein's direction, the institution has emphasized interdisciplinary approaches to display and interpretation, aiming to connect disparate cultural narratives while addressing modern scholarly debates on and . In August 2022, Hollein was announced to expand his responsibilities to include the title, effective July 2023, integrating operational leadership with programmatic oversight amid the museum's $500 million annual budget and extensive facilities. This dual role has facilitated strategic initiatives to enhance audience engagement, including digital expansions and broadened scholarly access, building on his prior successes in integrating technology at institutions like the Städel Museum. Key among these is a comprehensive reorganization of the European paintings and sculpture galleries, completed in phases to foster cross-cultural juxtapositions and reduce traditional ethnocentric framing, with over a quarter of the museum's galleries refreshed by late 2023. Hollein has spearheaded major capital projects, notably the opening of the Iris and B. Gerald Cantor Roof Garden and the new Tang Wing for modern and , which expanded exhibition space for post-19th-century works and supported acquisitions like significant postwar European and American pieces. His tenure has seen over 100 exhibitions, including blockbusters such as The Medici: Portraits and Politics, 1512–1570 (2018–2019), which drew record attendance by linking to political history, and ongoing series like the 2024–2025 slate featuring thematic explorations of global influences in Asian and African collections. These efforts have prioritized empirical curatorial rigor, with Hollein advocating for evidence-based reinterpretations of objects informed by recent research and international collaborations, such as discussions with source countries.

Curatorial and Scholarly Work

Key Exhibitions and Projects

Hollein curated "Shopping: A Century of Art and Consumer Culture" at the Schirn Kunsthalle Frankfurt from October 28 to December 1, 2002, presenting works that traced the evolution of consumerism's influence on art across the 20th century. Under his directorship at the Schirn, exhibitions included "At Your Own Risk" in 2003, which examined viewer-interactive art practices emerging in the 1990s, and "Art for the Millions: 100 Sculptures from the Mao Era" from September 24, 2009, to January 3, 2010, featuring socialist realist sculptures produced during China's Cultural Revolution. At the Städel Museum, Hollein oversaw the 2012 expansion project, which doubled the institution's gallery space through the addition of a new underground wing. He curated "Georg Baselitz: The Heroes" at the Städel from June 30 to October 23, 2016, displaying approximately seventy paintings from the artist's early 1960s series addressing post-war German identity. During his tenure at the Fine Arts Museums of San Francisco, Hollein developed programming such as an exhibition on American Precisionism and the Machine Age of the 1920s, drawing parallels to contemporary technological advancements. As director of the Metropolitan Museum of Art, Hollein supervised "The Medici: Portraits and Politics, 1512–1570," held from June 26 to October 11, 2021, which assembled over 90 works, including paintings, sculptures, and decorative arts, to illustrate the role of portraiture in Medici political maneuvering in Renaissance Florence. Key projects at the Met under his leadership include the launch of the Tang Wing for modern and contemporary art, enhancing display capabilities for the collection.

Publications and Writings

Hollein's scholarly writings are predominantly tied to his curatorial practice, encompassing exhibition catalogs, museum guides, and theoretical essays on presentation and reception. His PhD dissertation, titled Die Ausstellung als Kunstwerk ("The Exhibition as Artwork"), completed in 1999 at the , explores s as autonomous artistic entities, emphasizing curatorial strategies in shaping viewer experience. Hollein has described this work as highly theoretical, reflecting early interests in how institutional framing influences 's market and perceptual dynamics, though it predates his extensive practical directorships. As director of institutions like the Schirn Kunsthalle Frankfurt and Städel Museum, Hollein edited or co-authored several catalogs documenting major exhibitions. Notable examples include Shopping: A Century of Art and Consumer Culture (2002), co-edited with Christoph Grunenberg, which examines intersections of consumerism and visual arts from the 19th to 21st centuries through essays and reproductions. Other key contributions feature James Ensor (2006), co-edited with Ingrid Pfeiffer, cataloging the Belgian artist's satirical works with contextual essays; Esprit Montmartre: Bohemian Life in Paris around 1900 (2014), focusing on fin-de-siècle Parisian cultural scenes; and Odilon Redon: As in a Dream (2007), analyzing the Symbolist painter's fantastical oeuvre. These publications often prioritize visual documentation over novel theoretical advances, aligning with Hollein's emphasis on accessible institutional narratives. At the , Hollein's writings include Modern and Contemporary Art in The Metropolitan Museum of Art (2019), a 184-page survey authored by him that highlights post-19th-century holdings with 200 illustrations, serving as both catalog and interpretive guide. He also penned the foreword to Art = Discovering Infinite Connections in (2020), underscoring thematic linkages across the Met's global collection, and contributed an introduction to Making The Met, 1870–2020 (2020), reflecting on acquisition strategies and inclusivity in collecting. Additionally, as editor, he oversaw Suspended Moment: The Architecture of (2025, ), compiling essays on the Mexican architect's spatial designs in museum contexts. Hollein's output remains exhibition-driven rather than standalone academic monographs, with contributions favoring practical curation over abstract theory post-dissertation.

Organizational Roles

Corporate and Advisory Boards

Hollein serves on the of the Foundation for the , having been elected on January 25, 2024. The foundation, established in 1987, supports through grants exceeding $220 million to date, focusing on innovative contemporary projects. His appointment aligns with the board's composition of museum directors, curators, and scholars guiding grant allocations. He is a member of the TEFAF Global Advisory Board, which advises on strategic matters for The European Fine Art Fair, an annual event facilitating transactions valued at over €7.5 billion cumulatively. The board includes leaders from institutions like the Prado Museum and , emphasizing ethical standards and market trends in old masters and . Previously, Hollein served on the International Advisory Board of the until 2022, participating in meetings such as the 27th session in September 2021 to discuss curatorial and preservation strategies. This role involved collaboration with directors from the and on global museum challenges. His tenure ended amid geopolitical tensions following Russia's invasion of in February 2022, reflecting broader institutional reevaluations of ties with Russian entities.

Non-Profit and Cultural Organizations

Hollein was elected to the of The Foundation for the in January 2024, joining an organization that provides grants to visual arts projects and institutions supporting . The foundation, established in 1987, focuses on funding exhibitions, publications, and artist residencies, with Hollein's appointment leveraging his leadership experience. He serves on supervisory and advisory boards of several international cultural institutions, including the in St. Petersburg, , where he contributes to oversight of one of the world's largest collections spanning over three million works. Similarly, Hollein is a member of the advisory board for the Institute of Fine Arts at , an academic program emphasizing advanced research in and conservation. Additional affiliations include the supervisory board of the in , , which houses national collections of Czech and international art from the to the present; the Ludwig Foundation in , , dedicated to promoting through acquisitions and exhibitions; and the , a specializing in early 20th-century Austrian and . These roles reflect Hollein's engagement in global cultural governance, often involving strategic planning, acquisitions, and programmatic decisions across non-profit entities.

Controversies and Criticisms

Deaccessioning Practices

In February 2021, under director Max Hollein, the proposed expanding deaccessioning practices to fund "direct care" of its collection, including conservation, curatorial salaries, and facilities , amid a projected $150 million operating deficit exacerbated by the . This marked a departure from longstanding guidelines by the (AAMD), which had traditionally restricted such proceeds to new acquisitions; the proposal aligned with a temporary AAMD waiver introduced in April 2020 permitting direct care uses during . Hollein emphasized that the museum had routinely deaccessioned lower-quality or redundant works—averaging $20-30 million annually in recent years—to refine the collection, arguing that prioritizing stewardship over expansion would preserve more art long-term without compromising ethical standards. The initiative drew immediate criticism from former Met staff, art historians, and donors, who warned it could erode , signal financial mismanagement, and deter future bequests by implying collections were disposable assets. A petition opposing the plan, delivered to the museum on March 8, 2021, amassed over 25,000 signatures, contending that operational shortfalls should not justify liquidating donor-gifted items, potentially leading to "fire sales" of undervalued works. Critics, including figures like former Met Ashton Hawkins, highlighted risks of selective favoring marketable modern pieces over encyclopedic holdings, though Hollein countered that decisions would involve departmental heads and board approval, targeting only items not on view or core to the mission. By September 2021, the Met proceeded with approximately $1 million in prints, photographs, and drawings—works deemed duplicates or outside curatorial priorities—via auctions, with proceeds allocated to direct care as approved by the board in March. Hollein maintained this approach enhanced collection focus, noting in a September 2021 that it avoided broader layoffs beyond initial staff reductions. However, by October 2022, following AAMD's policy reversal limiting direct care uses to a five-year phase-out, Hollein stated the Met had redirected funds primarily to acquisitions, reflecting a return to pre-pandemic norms amid recovering attendance and endowments. No similar controversies arose during Hollein's tenures at the Fine Arts Museums of (2016-2018) or Museum, where remained acquisition-focused without public dispute.

Collection Reinterpretations and Ethnocentrism

Under Max Hollein's direction since 2018, the has pursued reinterpretations of its permanent collections to foster a less presentation, reorganizing galleries to integrate global influences and thematic narratives across cultural boundaries rather than maintaining siloed departmental structures. This includes the overhaul of European paintings from 1300 to 1800 across 45 rooms, where works from diverse origins and eras are juxtaposed—such as El Greco's paintings alongside those of Picasso and Cézanne, or Spanish colonial art from and —to highlight interconnections and challenge traditional definitions of "." The "Crossroads" initiative, launched in 2019, further exemplifies this by drawing artifacts from medieval, Asian, Greek, Roman, and other departments to explore shared themes like migration and exchange, aiming to present as a global continuum beyond a Western lens. Hollein has also emphasized provenance research and contextual updates tied to cultural property debates, committing in 2023 to hire additional researchers to review objects acquired between 1970 and 1990 and to develop nuanced narratives informed by interdisciplinary expertise. This has involved repatriating items, such as 16 works to countries including , , , , , , and , while prioritizing deliberate evaluations over hasty returns. Complementary efforts include the 2025 reimagining of the Michael C. Wing for arts of , , and the , intended to invite broader interpretations of non-Western holdings. Critics, however, have argued that these reinterpretations impose contemporary political ideologies onto historical artifacts, risking anachronistic projections such as modern identity categories onto ancient works like the "Lady of Carthage" mosaic. Conservative commentators contend that exhibitions like "The Last Knight" (2019), which reframe Renaissance armor through lenses of propaganda and power dynamics, prioritize social critique over aesthetic appreciation, selectively targeting European and American art while sparing non-Western holdings from similar scrutiny—potentially inverting ethnocentrism into a form of cultural exceptionalism for favored narratives. Hollein's commissioning of contemporary interventions, such as Kent Monkman's 2019 murals reimagining canonical Western scenes with indigenous perspectives (later added to the permanent collection in 2020), has drawn accusations of transforming the encyclopedic museum into a platform for identity-driven agitprop that undermines its universalist mission. Added wall labels in displays like "Making The Met" (2020 onward) highlighting donors' ties to historical injustices, such as sugar trade exploitation, further fuel claims that such approaches align with progressive activism, potentially eroding public trust in the institution's curatorial neutrality.

DEI Policies and Institutional Responses

In June 2020, following the death of George Floyd and subsequent protests, over 100 staff members signed an accusing the institution of perpetuating "covert and overt " through its hiring practices, exhibition choices, and internal culture, prompting demands for structural reforms. On July 7, 2020, Director Max Hollein and President Daniel H. Weiss responded by announcing a 13-point institutional Equity and Diversity Plan, which included mandatory training for all staff within 180 days (60 days for senior leadership), the creation of a $3–5 million fund to support initiatives on diverse art histories, exhibitions, and acquisitions, and a $10 million endowment commitment for works by Black, Indigenous, and People of Color (BIPOC) artists within 12 months. The plan also pledged to hire a within four months and expand paid internships to enhance by 2022, framing these measures as steps toward amid internal allegations of pay disparities and erasure of minority voices. Hollein publicly aligned the museum with , stating in a June 2020 message that the Met's historical development was "connected with a logic of what is defined as " and committing to address institutional shortcomings, though he emphasized a professional approach to reforms. Critics from within, including the employee-led group For the Culture 2020, dismissed prior solidarity statements as insufficient and demanded public reporting on progress, citing unfulfilled past commitments on equity. External observers, such as those in conservative outlets, argued that Hollein's embrace of such self-critique undermined the museum's encyclopedic mission by prioritizing contemporary ideological interventions over traditional curatorial discernment, with initiatives like acquiring Kent Monkman's racially themed murals in October 2020 exemplifying a shift toward over aesthetic focus. Hollein's appointment as the tenth consecutive white male director in 2018 had already drawn scrutiny for overlooking diversity opportunities, despite his financial expertise, amid broader debates on representation in . By April 2025, in response to President Trump's executive actions targeting federal DEI programs, Hollein asserted that such policies "don't apply to us" and would have no impact on the Met's operations, signaling continuity despite political shifts. Reports on implementation remain mixed, with some noting persistent staff turnover linked to DEI imperatives under Hollein's tenure, though specific metrics on training efficacy or acquisition outcomes are limited in public disclosures.

Recognition and Legacy

Awards and Honors

Hollein was appointed Chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture in 2009, recognizing his curatorial achievements and contributions to international cultural exchange. In 2010, he received the Austrian Cross of Honour for Science and Art, an award bestowed by the Austrian government for distinguished service in the fields of science, research, or art. Hollein was honored with the Goethe Plakette des Landes Hessen, the highest cultural policy accolade of the State of Hesse, in 2015, acknowledging his leadership in 's museum institutions and promotion of artistic innovation. In June 2019, the City of awarded him the Goethe Plaque, presented to figures who have significantly advanced the city's cultural life, citing his transformative role as director of the Schirn Kunsthalle, Museum, and Liebieghaus during his tenure from 2001 to 2016. In 2020, Hollein was named Manager of the Year by Vienna University of Economics and Business (WU Wien), an alumnus award highlighting his global impact in arts management and institutional leadership at institutions including the Fine Arts Museums of San Francisco and the Metropolitan Museum of Art.

Impact on Art Institutions

Max Hollein's directorships have emphasized physical expansions, digital integration, and programmatic innovation to enhance and of institutions. At the Schirn Kunsthalle in , where he served as director from 2001, Hollein curated exhibitions exploring contemporary societal themes, including Shopping: A Century of Art and Consumer Culture in 2002, which examined 's intersection with commerce. His there contributed to the venue's for dynamic, thematic shows that drew broader audiences beyond traditional circles. Assuming directorship of the Städel Museum in in 2006, Hollein oversaw a $69 million expansion that doubled the gallery space, enabling larger exhibitions and improved visitor flow. He implemented a comprehensive digital strategy, including online collection access and virtual tours, which positioned the museum as a pioneer in hybrid physical-digital experiences. These initiatives correlated with sustained high attendance, exceeding 7 million visitors in peak years during his tenure. From 2016 to 2018, as director and CEO of the Fine Arts Museums of , encompassing the and Legion of Honor, Hollein managed institutions that ranked among the top U.S. art venues by visitation, with over 1.4 million annual visitors. He focused on curatorial enhancements and operational efficiencies to sustain public engagement amid diverse programming. Since 2018 as director of the —and adding CEO responsibilities in 2022—Hollein has directed over 100 exhibitions and spearheaded capital projects, including the new Tang Wing for modern and completed in 2024. He introduced the "" commission series in 2019, commissioning site-specific contemporary works to bridge historical and modern collections. Additionally, he reorganized the European paintings and sculpture galleries in 2023 to foster cross-cultural juxtapositions, aiming to reduce ethnocentric narratives while maintaining chronological coherence. These efforts have modernized the Met's approach, integrating digital tools and contemporary focus to attract younger demographics and sustain its 6 million annual visitors.

Personal Life

Family and Relationships

Max Hollein is married to Nina Hollein, an Austrian fashion designer and former architect. The couple has three children, who were teenagers as of 2018. Hollein's mother, Helene Hollein, worked as a fashion designer prior to her marriage, while his younger sister, Lilli Hollein, directs Week.

Residence and Lifestyle

Max Hollein resides with his family in a rented on Manhattan's . Upon relocating to in 2018 for his role at the , he and his wife initially shared a one-room apartment in Hell's Kitchen before moving to the more spacious property. Previously, while directing the Fine Arts Museums of , Hollein maintained an art-filled home in that city. Hollein's lifestyle aligns with his professional immersion in , characterized by frequent attendance at cultural events, collaborations, and international travel related to museum initiatives, such as exhibitions in . Described as dapper and charismatic, he engages actively in New York's art scene while balancing family life in the city.

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