Saturday, May 5, 2018

Caring for Visitors

A few weeks ago, I had the opportunity to visit the Tuol Sleng Genocide Museum in Phnom Penh, Cambodia.  It's a former high school that was used as a security prison (S-21) by the Khmer Rouge regime during its murderous rule from 1975-79.  Not surprisingly, it's a tough place to visit:  rooms where torture happened, the photographs of victims (and torturers who often then became victims themselves), and the reminder that only 7 people of the roughly 17,000 imprisoned there survived.

It's an incredibly important story and as with all Sites of Conscience, one all of us need to listen to.  However, I was particularly struck by the gentle care that the museum took to provide space, both mentally and physically, to allow visitors to process these events, which feel like a kind of horrible madness.  The excellent audio tour includes both narrative and historical testimony, including from the trial of the prison chief Duch (who, lest you think this is the distant past, was only convicted in 2010 by the Extraordinary Chambers in the Courts of Cambodia for crimes against humanity and grave breaches of the 1949 Geneva Conventions and sentenced to life imprisonment).

Until just a few years ago, the center courtyard was just a paved space.  But now it's green and lovely. Each time you leave a building you have a chance to take a deep breath, sit and reflect.  The tour gives you a heads-up before you come to stops that may be really difficult to hear.  The effective narrative reminds you that it is always humans--committing the genocide, resisting the genocide, and providing the testimony.   Every day there is a dialogue forum with a survivor of the Pol Pot regime and the White Lotus Room provides visitors a chance to meditate in a cool, quiet room and listen to Khmer traditional music.  The audio tour also provides traditional music that you can dip into and out of.

Upcoming on May 20 is the annual Remembrance Day, in memory of the spirits of the victims and when, according to the museum website, "Food and other offerings are made to the monks and as charitable acts to the poor."

The message of the site itself is the most important--as Tuol Sleng's director, Chhay Visoth notes:
My goal is for visitors to understand what happened here so that it never happens again—innocent people, including children, being imprisoned, tortured and killed. I want them to learn about the cruelty of this regime and remember the victims who died here, who were forced to make confessions for things they didn’t do and then put to death without mercy.

But it's constructive for other museum workers to note that the same compassion for victims extends, in a very different way, to a kind of compassion for visitors--and that this compassion is done with such simple tools:  green spaces, cool rooms to rest, music--that have such power, power that helps ensure that visitors will always remember the experience and some of the faces and stories of the victims. It's worth noting that this care, this compassion for visitors comes from victims, as virtually every Cambodian of a certain age was affected, one way or another by the Khmer Rouge's actions. With that remembrance and that care, we can, as we daily remind ourselves at the Coalition of Sites of Conscience, "turn memory into action."

Monday, April 2, 2018

The "Repression Machine:" Telling Albania's Story

In March, I spent a week in Tirana, Albania, at the invitation of the United States Embassy in Tirana, facilitating conversations and workshops about possibilities for a rejuvenated National History Museum.  More on that experience later, but first to discuss a bit about Albania's history and the stories that museums and archives are sharing with visitors and my learning at two historic sites and one archive.

If you're like me, you don't know much about Albania's complex and fascinating history, but the part this post focuses on is the Enver Hoxha communist regime, established after the defeat of the Nazis in 1945.  This regime was initially allied with the Soviet Union, but broke away and became unaligned, and isolated from almost everywhere. The only way I can describe it is as a paranoid state that distrusted everyone, but most of all its own citizens.  In the years since the early 1990s, Albania, like many other states, has been coming to terms with its Communist legacy.  It's not an easy task, particularly as this did not involve an invader or outside oppressor, say as in the Czech Republic, but an entirely home-grown system of repression.

I learned about this history by visiting three places doing exceptional work:  the House of Leaves, Spaç Prison, and the State Security Archives.  Each one provided food for thought for anyone thinking about ways to interpret difficult issues, in this case, the "machine of repression," as Genta Sula, head of the archives, described it.

The House of Leaves is right in the center of Tirana and only opened as a museum less than a year ago. But the House itself has been long-known to Albanians.  It's the former headquarters of the state surveillance service, sequestered behind a high wall covered with leaves.  It's now a museum devoted to helping visitors understand surveillance: who did, how they did it, why they did it, and more.  From the House of Leaves I remember how much the graphic black and white design served the story.  There were loads and loads of charts--ordinarily something I might not be attracted to--but room-sized, they actually drew you in.  The mechanics of the surveillance were fascinating--and also unsettling.  You could see how some people just saw the surveillance as a technical problem to be solved, not a human rights question. And then that began to raise some unsettling questions about the state of surveillance today in the larger world.

But most importantly for me, was the sense that, throughout the entire museum, that the exhibits were based on real, individual stories.  This was brought home to me as I entered one room that listed all the people imprisoned or killed by the regime.  An Albanian colleague with me went quiet, looked up, and said, "here's my grandfather."  Those stories, one by one, are a large part of what gave the museum its exceptional power to me. The other power came from what was unsaid:  that we think about this state-sponsored surveillance, but about how we're just starting to think about the kind of corporate surveillance that we willingly surrender to.

Some of the raw material for the content of this exhibit comes from the state security archives, newly opened after more than twenty-five years.  You can come to the archives and see your own file--some of them thousands and thousands of pages.  The total archives is more than 22 million pages.  You begin to understand the web of connections:  the government spied on you, and then convince you to spy on others--and so much information was fundamentally useless--but still used to intimidate and imprison others.  Genta Sula, the director of the Authority for the Information on Former Communist Police Secret Files (that's the archives official name) views the archives also as an activist tool.  The archives are working with artist Alketa Xhafa Mripa, who is producing "Even the Walls have Ears,"  testimonies from the archives to be projected on public buildings this spring.  If there's one thing I've learned in my year at Sites of Conscience,  it's that archives can be really powerful.  These archives are a great example of both documentation and activism.

The last site of note was not quite a museum yet--and it took me far out of Tirana.  Three staff members of Cultural Heritage without Borders, a Sites of Conscience member, took me out to visit Spaç Prison. Far up in the mountains, the prison and labor camp was established by the regime and housed a number of Albanian intellectuals and opponents of the Hoxha regime.  It's been designated as a heritage site, but sadly neglected and Cultural Heritage without Borders has taken on the effort to turn it into a site of memory and a museum.  For me, several important elements stood out here:  first, the power of place.  Although most of the way to the prison is now a paved road, it used to be a very long drive to get to this remote place.  And once here, you understand that the regime's goal of isolating you and attempting to control every aspect of your life.  "Inspirational" quotes from Hoxha are still on the walls juxtaposed with one prisoner's list of movie stars on a cell wall.

But this site also reveals the challenge of dealing with the past.  The site is owned by the government and the mine itself has been leased to a Turkish company, who is rapidly changing everything around the "red line" of the historic site, as you can see in the above photo.  The buildings at the top of the photo are all new. This region, like all of Albania, is interested in economic development--hence the mine lease.  Which will win out?  Cultural  Heritage without Borders has developed a thoughtful plan for the ongoing development of the site as a site of memory--and a place where young people can not only learn about the past and but also shape a more just future.

I found one commonality in all these experiences: virtually everyone I met, of course, had their own story of these times and their family or personal experiences.  It's the integration of these personal voices that provides the strength of these places and the involvement of those affected by the regime is critical.  Everyone noted that Albanian society has a long way to go in the complex process of reconciliation, but each of these experiences showed the power that museums, historic sites, and archives can have in moving towards that reconciliation if they are unafraid.

Saturday, March 10, 2018

The 2018 Mentees (finally!)

It's been a busy year already, with hardly time to blog, much less announce this year's mentees.  Many, many thanks to all of you who took the time to apply and share your passions, your childhood creative efforts, and the changes you want to make in the field.  You inspire me every year--and the choice is always very difficult.  This year, I'm happy to announce that Claire Lanyon and Doreen Pastor will each be joining me for a year's worth of monthly coffee and conversation.  We'll be time zone challenging, and intriguing that each are migrants to their current country.

Claire is Interim Learning Manager at the Auckland War Memorial Museum in Auckland, New Zealand. She came to this position with experience in the world of educational technology, including 6 years at Apple as an Account Executive focusing on education sales.  Among the questions we'll be exploring this year are:
  • What can we do to increase the relevance of Museums in the lives of young people?
  • What programmes or exhibitions are you seeing that meaningfully increase participation?
  • What steps can we take to increase the development of empathy?

Claire's childhood acts took her from shy child to the Majorette World Championships, as performing in various guises helped her find her voice and her passions include education (teaching and learning), empathy and food.  Her two best museums experiences of the last year were ones I wish I'd seen:  the Empathy Museum and ‘We’re here because we are here’ a public art piece commemorating the Battle of the Somme.

Doreen is currently working on her Ph.D. and part-time Community, Learning and Volunteer Coordinator at St George's in Bristol, England.  At the University of Bristol, her research is focusing on tourism and cultural memory at “difficult” heritage sites in Germany. She is passionate about "historical research and communicating this research to a public audience, particularly addressing challenging historical themes."  Over the year, we'll be talking about the work of memorial sites globally and as well, ways to build out individual skills and capacity.

Doreen's remembered creative act was also an act of resistance:
I have always been a little bit of a rebel, which, bearing in mind that I was born in the GDR,was problematic. From day one, I did not enjoy going to school and one day during a mathlesson, I stood up and informed the teacher that I would leave the lesson as I was bored. Such an act in the GDR school system was very brave and had some consequences for me, however, it did not deter me from always speaking my mind.
Braver museums--moving away from the cautious--is the change Doreen would like to see, and at memorial sites, she would like to see sites "consider the impact of the exhibitions on the visitors from the outset rather than as an after-thought."

As I said above, this process is always a difficult one--and one of my favorite parts is reading about those first creative acts.  Here's just a few:

  • Writing adventure stories featuring Pokemon characters
  • When I was 7 a friend and I put posters up around our village advertising a drama class that we were holding in the playground (no-one turned up…)
  • My 3rd-grade teacher Ms. Brown noticed one of my notebooks and convinced me to submit a poem about the Time Square ball drop to our township’s local newspaper, and it was published, which was about the biggest event of my childhood.
  • a very (very!) complex board game for Whose Line is It Anyway?
  • When I was maybe 11 or 12 I started making drawings that illustrated popular song titles. For example, for Journey’s “Open Arms” I drew, you guessed it, a torso with extended arms. For Yes’ “Owner of a lonely heart”, I drew a typical heart with a collar and chained leash, and little a hand firmly holding the other end of the leash.

You are all amazing!  Keep up the creative work to keep changing the museum field.

Sunday, February 11, 2018

How Can You Learn? Count the Ways!

In the last post, learning consultant Ivy Young shared the ways in which the California Association of Museums created a climate of learning for museum colleagues in the state.  Now, she shares some of her favorite tools developed by museum peer learning groups. Begin exploring! And many thanks, Ivy, for sharing the work of our California colleagues.

To whet your appetite for learning here are just a few of my favorite knowledge products, by topic:

Visualize accessibility interventions in a four-quadrant graph organized from least to greatest impact across one axis and easiest to most demanding implementation across the other axis. Participants in the San Francisco region mapped accessibility interventions for fellow museum professionals in an interactive Prezi that also includes topical resources and examples.

A Culture of Inclusion: Recommendations for Museum Accessibility Policy
The Gold Country region produced a six-page document outlining core criteria to consider in crafting museum accessibility policies: Feedback, Universal Design, Diversity Training, Inclusion, Inviting Atmosphere, Education, External Access, and Evaluation. Users may read the document in its entirety or jump to select criteria. References and resources are also embedded.

The Shasta Cascade region produced this simple, one-page, graphic roadmap to guide museum practitioners through critical process considerations in designing audience research studies.

2.5 Hour Evaluation Challenge
Central Coast regional participants created a template for any museum team interested in designing a pilot evaluation. Along with the evaluation study, this knowledge product provides an easy, step-by-step process for creating and implementing the pilot study and, later, reflecting on the instrument, it’s implementation, and assessing the collected data.

How do institutions change to become more inclusive and engaging? The Los Angeles region created an insightful infographic that documents a pathway for the organizational change process from the individual to the institution, and finally to the holistic relationship with the public they serve.

Identifying Engagement Tumblr 
Examples of visitor engagement can be found throughout the Inland Empire region. Program participants here created this Tumblr account to highlight the engagement strategies they recognized around them. What’s more, you too may submit your own examples of engagement to the Tumblr!

I am incredibly proud of the collaborative work that everyone involved brought to the CNfC pilot. I really could go on and on… However, I am going to leave you here with just a few more avenues for additional information should you be curious for more:

I’m eager to know what you think, too. What have your most collaborative experiences entailed? What made them tricky? What made them satisfying? Did they lead to any unanticipated outcomes? Let’s keep the conversation going in the comments below.

This project was made possible in part by the Institute of Museum and Library Services, grant number MG-10-14-0010-14, and with the generous support of all CNfC partner organizations.

Tuesday, January 23, 2018

Collaboration + Museum Pros = Treasure Trove of Ideas

I think about collaboration all the time. In my career I've had some amazing collaborative successes and some pretty tough failures, so I'm always looking to learn more.  I met Ivy Young several years ago and we've continued to have great conversations around all sorts of things--but our talk turned to collaborations recently, so I've asked her to share some thoughts from her time as director of the California Networks for Collaboration, a project of the California Association of Museums. Ivy is currently working as a consultant for learning design and the facilitation of collaborative processes. She starts us off by reflecting on the question she posts above.

Some of my immediate thoughts include:
  • Collaboration cannot be done alone – it involves a group of people.
  • Collaboration requires trust and mutual respect. Without establishing core, shared values at the outset, collaboration risks failing.
  • The collaborative process is organic and can be difficult! It requires commitment.
  • Communication pathways need to be clear and remain open.
  • It’s most meaningful, insightful, and produces the best outcomes when the collaborative group is diverse. (Diverse across multiple dimensions: age, gender, culture, race, ethnicity, religion, socioeconomics, education, abilities, etc.)
  • Collaboration takes a lot time. And sometimes it may just feel that it’s easier to go at the work alone.
  • Often, collaboration yields new ideas or new innovations.
  • Strong collaboration has deeper impacts and broader reaches. It has the potential to strengthen organizations, communities, and networks.

What would you like to add to this list? Please share in the comments below. Let’s keep it going!
Truth be told, I’ve spent a considerable amount of time thinking about collaboration. The above reflections have largely been shaped by my experiences in helping to steer the California Networks for Collaboration (CNfC)– an aptly titled project at that! Collaboration was at the very heart of the project and all CNfC stakeholders were engaged in collaborative processes throughout, from esteemed advisors to voluntary participants.
In the briefest of nutshells, the CNfC is a four-phase, multi-year project that is directed by the California Association of Museums (CAM) in collaboration with 13 other partner organizations statewide. In the CNfC phase that I helped to oversee, we brought museum thought leaders together to create three different curricula for studies focusing on engagement strategies, audience research, and accessibility. CAM and CNfC project partners then activated their professional networks across the state to bring together multiple study groups, or what we called “Learning Collaboratives”, around these three topics. In this, we were piloting how to leverage multiple, informal networks around a focused endeavor as well as we were testing a model for professional development based on the concept of collaborative learning.
With CNfC Learning Collaboratives we sought to provide more collaborative experiences for participants than what might be expected of the traditional study group or professional development experience. This chart, originally created by consultant Marsha Rhea, compares the two learning environments:
Learning Collaboratives
Study Groups
Knowledge co-creation focuses on participant meaning making
Knowledge transfer focuses on participant comprehension
The atmosphere is social and organic
The atmosphere is more structured and predefined
Participant experience is interactive –
“Ask me!”
Participant experience is more passive –
“Feed me.”
Context rich
Content rich
Driven by participant interests
Driven by facilitator’s (or expert’s) interests

With this, imagine groups of museum and arts & culture professionals (anywhere from 5 to 16 people, including the regional facilitator) coming together in different regions throughout California for a six-month period...Each group met together in real life once a month and also had the opportunity to connect in a social networking forum between meetings, had access to live, monthly webinars with museum thought leaders, and were provided with a curated list of recommended readings and optional activities to also peruse outside of meeting.
The in-person meetings tended to be the most important anchor for the Learning Collaborative experience. These often included a number of different interactive protocols for a diversity of spoken and written interactions to help construct shared learning.

In fact, some of the protocols used in the Learning Collaborative meetings were sourced from Linda’s (and Rainey Tisdale’s) book, Creativity in Museum Practice, such as mind mapping (p.38), brainwriting (p. 136), and the butterfly test (p. 137). (And, what’s more, the CNfC project is mentioned in the publication! See page 159.) With all of these different activities for exchanging and cultivating ideas, you better believe the Learning Collaborative groups came up with some great insights to apply to museum practice!
Each group worked together collaboratively to document their most salient takeaways at the conclusion of their studies. These takeaways – what we called “knowledge products”– took on many different forms from pocket checklists to interactive Prezi presentations, to games and annotated bibliographies. Any form, really, that the Learning Collaborative thought would be best to convey their findings. You can access all 37 of the CNfC Learning Collaborative knowledge products here
Stay tuned for Part 2, featuring some of Ivy's favorite Knowledge Products and be sure to share your thoughts on collaboration in the comments.

Saturday, January 6, 2018

2017's Baker's Dozen of Memorable Museum Experiences

Like 2016, 2017 brought me many memorable museum experiences--that's memorable in a good way. Of course, there were a couple that were memorable in the "oh, no" kind of way, but in a spirit of generosity, here's what I saw, experienced and felt last year that I find myself sharing with friends and colleagues. As I went through selecting photos, I realized there were many more places I could have included on this list. It's encouraging to see how many museums and historic sites are working hard to push boundaries, to think more deeply.

American-Swedish Institute, Minneapolis, MN
Last January, I spent a few days at the American Swedish Institute, helping them jumpstart an interpretive planning process.  This wasn't necessarily memorable because of exhibits I saw, but rather because of the commitment of board, staff leadership and staff.  They embraced new ideas, did all their advance reading (!) and took a memorable field trip off to a local global market to see what they could learn. They're a great example of building a learning culture inside a museum, for staff, not just for visitors.

Torbay History House, Torbay, Newfoundland, Canada
A tiny museum-to-be in Newfoundland, Canada reminded me of the vital place museums can play in communities. I conducted focus groups last winter with students, scouts, parents at the library and the community at large. Everyone had ideas for exhibits, programs, and ways to use a new building for the museum. When the plans had their public meeting this fall, it was one of the liveliest, in the very best way, discussions.  "Could we do this?"  "Oh, I like that," "What will happen here?"  A case study for how opening up a planning process from the start can lead to greater buy-in.

Museum of European Cultures, Berlin, Germany
German colleague and friend Katrin Hieke met me in Berlin for a whirlwind weekend of museum-going. I envisioned the Museum of European Cultures as a dusty place, but far from it.  We took a Tandem (two languages, but actually closer to four) tour with a curator and a refugee artist of the exhibit da Heim: Glances into Fugitive Lives. Read my full post to understand why it was so meaningful, important, and deeply emotional.  It was the kind of exhibit and community collaboration I wish we could all strive for.

Creativity Workshop with local museums, Lutsk, Ukraine
This spring, Rainey Tisdale and I made a week-long, fast-paced trip to several Ukrainian cities to celebrate the Ukrainian publication of Creativity in Museum Practice.  As always, it was great to see friends and colleagues, but the time I particularly remember is at a museum in Lutsk, in western Ukraine, where museum workers and students jammed into a too-small room as enthusiastic workshop participants to learn how to build their own creative practice.  Their team efforts on developing exhibits on some social aspect of Soviet life, for an audience of teenagers, were judged by university students.  The combination of laughter and nostalgia combined with remembered fears and uncertainty was quite astonishing (and surprising to our Ukrainian colleagues as well). My relationship with Ukraine now goes back 8  years, and I continue to appreciate colleagues' progress in still-challenging times. A reminder that change is always possible.

Kigali and Murambi Genocide Memorials, Rwanda
I think about the day of these visits often. Rwanda is a spectacularly beautiful country and so the 1994 genocide seems almost unimaginable.  They tell a recent, still unresolved story, and in both cases, also serve as the final resting place of thousands of Rwandans killed by their neighbors. It challenged my ability to do my work (how can I make a real difference?) but at the same time, reinforced the importance of the work of Coalition members, and that a starting point for real change is empathy.

This Ever New Self: Thoreau and His Journal exhibit at Morgan Library, New York, NY
In this exhibit, words, rightly so, took center stage.  Thoreau's words felt fully contemporary.  The thoughtful design and curation really made the objects, including those journals, matter.  I found deep resonance in his words with my work at the International Coalition of Sites of Conscience this year.

Tea Plantation Workers Museum, Kandy, Sri Lanka
This museum is up a long, long way into the Sri Lankan highlands, deep into the tea plantations. One of the great gifts of my travel, particularly this year, is to learn about histories I knew nothing about. The Tea Workers story is one of colonialism, of identity, of nationalism, of persistence, and of family--and I found it all in this tiny museum.  The lesson from here?  Seek out tiny museums to learn about the people and places you're in--go beyond being just a tourist visiting the hot spots.

Casa Azul, the Frida Kahlo Museum, Mexico City
A number of years ago, I heard someone from this museum speak at an AAM meeting, and I've been interested in going ever since I got the chance. It was worth the wait and lived up to my expectations. First, it's a really beautiful and spectacular place, full of amazing objects that provide deep sense of Kahlo and her work; second, we visited on Day of the Dead weekend, so it was even  more thrilling with a huge altar installation; third, the way the house integrates inside and outside felt calm, even on a crowded day.  And lastly, the visit also included a fascinating exhibition on Kahlo's clothes tocusing on how she used clothing to both hide and step forward.

Museum of Popular Art, Mexico City
I actually didn't get to see very much of this museum, as we were only at a reception there. But there was a spectacular addition to the reception:  illuminated walking hand-made giant creatures making their way through the park to the museum. I had done a session on getting out of your comfort zone at the CAMOC conference, inspired by Annemarie de Wildt's ever-active Facebook page; and she demonstrated the value of that notion immediately, as she waded into great conversations in bits of English, Spanish and French, with the makers.  Creativity and curiosity flourished together in a memorable evening.  How can you inspire the same in your visitors to get them outside their comfort zones?

Gemeentemuseum Den Haag (Municipal Museum), the Hague, the Netherlands
I approach technology in museums with some skepticism.  I know, that's a blanket statement, but I want to technology to be a tool, not the means, and that doesn't happen often enough.  My dear friend Irina Leonenko, her son Nikolai, and I bicycled off to this museum and I found a total surprise. In the museum's Wonderkammer you receive an iPad to explore a whole series of rooms, answering clues and collecting objects.

Several things I really liked: the tablet was just the activator and each room encouraged different kinds of learning and participation.  We danced in time to a Mondrian painting, learned about glass making and identified tools, listened to tales of dragons and digitally put ourselves in historic costume.  But then, in a way hard to explain, we found ourselves in the large center gallery space, with tiny objects, and we used the objects we'd collected to design our own exhibition and digitally, our tiny selves entered the gallery, cut a ribbon and enjoyed the space.  I can imagine going back again and again, as every time the experience would be different.

We Have a Dream exhibition, Nieuwe Kerk, Amsterdam, the Netherlands
It was pouring rain in Amsterdam, and as I crossed a street, I saw giant images of Gandhi, Mandela and Martin Luther King.  Curious (and wet), I ducked into the Nieuwe Kirk, a spectacular space, to find an exhibit that looked at three giant figures of the 20th century.  The exhibit had few objects (although I appreciated Gandhi's bicycle in this cycling city) but the graphics, including text, were eye-catching and direct. The exhibit encouraged us to think about these men as not just historical figures, but as people who continue to inspire, even including contemporary heirs, such as the Black Lives Matter movement.

Terezín Memorial, Terezín, Czech Republic
Terezín is one of the founding members of the International Coalition of Sites of Conscience and was the site of our 2017 European members meeting so the site and the chance to meet our members are inextricably linked.  The entire site represents layers and layers of history--from an 18th century fort to a "model" detention camp for the Nazis to a museum and almost uninhabited town today.  The education staff at Memorial have created a number of programs for young people, for whom Nazism is distant history, to help them understand that those lessons carry forward to today.  We all felt warmly welcomed by all the staff, despite the site's cold and chilling history. It didn't require much imagination to see where those railroad tracks led; but at the same time, the creative spirit of those in the camp was very much in evidence.  The lesson for me here?  Embrace the complications.

Loja das Conservas, Lisbon, Portugal My last one is not actually a museum, but provided the best kind of museum-like experience.  Loja das Conservas is a store created by the canned fish association of Portugal and selling only canned  fish (conservas). If you're like me, white tuna in water is your idea of canned fish, you're in for a surprise.  But what made it like a museum?  Great graphics, and interpretive labels explaining each producer's work and history. We had a chance to sit down with a glass of wine and sample different products (as part of a great Context travel walk), with a very helpful staff member who explained the different types, and even got our non-fish eater to try a bit! I felt welcomed, had a great time,  learned something, and brought souvenirs home.  Just like a museum, right?

That was my year!  A shout-out to ICOM because my membership card provided free admission to many of these places.  I'm looking forward to another year full of big challenges, thoughtful museums, and incredible colleagues.  Stay tuned.