The BroadEdit
The Broad is a private contemporary art museum in downtown Los Angeles, California, founded from the vast holdings of philanthropist Eli Broad and his wife, Edythe Broad. Opened in 2015, it houses the Broad Collection, a substantial assemblage of postwar and contemporary art built through Broad’s personal philanthropy. The museum’s goal is to present serious, accessible art to a broad audience, positioning Los Angeles as a major center for global culture. Its distinctive architecture, public accessibility, and ambitious programming have made it a focal point in debates about how culture is financed, curated, and displayed in a modern city.
The Broad stands as a case study in how private philanthropy can drive cultural amenities without increasing tax burdens on residents. It has sought to democratize access to high-quality art—general admission is free—while also pursuing high-profile exhibitions and artists that attract visitors from across the region and beyond. In doing so, it sits at the intersection of urban development, philanthropy, and the evolving politics of curation in the arts.
History
The Broad traces its origins to the personal art collection of Eli and Edythe Broad. The couple’s collaborations with museum professionals and architects culminated in a building designed by Diller Scofidio + Renfro (DS+R) in collaboration with structural partner Gensler. Located in a resurgence corridor of downtown Los Angeles near other cultural institutions, the museum opened its doors in 2015 and immediately became a magnet for locals and visitors alike. The Broad’s early years featured ambitious shows and acquisitions that showcased a strong commitment to postwar and contemporary art, while also elevating the city as a global art destination. For the city’s broader cultural ecosystem, the museum’s arrival complemented nearby institutions such as MOCA (Los Angeles) and LACMA, and interacted with the ongoing urban renaissance of Downtown Los Angeles.
The institution has relied on a steady stream of private gifts to build and refresh its holdings. This model—private philanthropy driving a public-facing cultural amenity—has shaped its governance, programming, and fundraising strategy. The Broad’s leadership has emphasized accessibility, education, and engagement as core aims, reflecting a philosophy that art should be both serious and widely available.
Architecture
The building is notable for its sculptural form and its distinctive exterior, often described as a lattice-like skin that allows daylight to wash the galleries while maintaining a controlled interior climate. The design merges DS+R’s conceptual strengths with practical considerations for housing a large and rotating art collection. The interior is organized to maximize gallery space for large-scale works and to facilitate movement through a comprehensive survey of late-20th- and 21st-century art. Its placement within walking distance of other downtown anchors creates a campus-like feel for visitors who are exploring the area’s cultural offerings, including the nearby Walt Disney Concert Hall.
Architectural discussion often centers on how the Broad’s form signals its mission: to present art in a way that is both contemporary and accessible, with a public-facing ethos that matches its free general admission policy. The building is frequently cited in conversations about how architecture can embody a museum’s mission and invite audiences that might not typically engage with the contemporary art world.
Collection and programming
The Broad’s collection focuses on postwar and contemporary art and has drawn praise for breadth, depth, and audacity. It includes major works by Jeff Koons, Cindy Sherman, Jean-Michel Basquiat, Roy Lichtenstein, Barbara Kruger, and many others, spanning painting, sculpture, photography, and new media. A key feature of the institution is the willingness to rotate works and to present the collection alongside temporary exhibitions that test boundaries and encourage dialogue. Notable moments in the Broad’s programming have included immersive installations and exhibitions by renowned contemporary artists, as well as ambitious shows that pair major works with emerging voices.
In addition to its permanent holdings, the Broad has hosted installations by artists such as Yayoi Kusama (including early instances of her Infinity Mirrored Room) and other figures who push the envelope of form and perception. The museum’s approach to curation emphasizes a combination of canonical postwar pieces and provocative contemporary statements, creating a dialogue between past and present that is meant to appeal to both seasoned collectors and curious newcomers.
The Broad’s commitment to public access is reflected in its admission policy, which has long offered free general admission. This approach aims to lower barriers to entry and introduce a broader cross-section of the city to high-caliber art, a stance that proponents argue is essential for a healthy civic culture. The museum also offers paid tickets for special exhibitions and programs, which helps sustain operations and fund new acquisitions and initiatives.
Governance, funding, and impact
As a private philanthropic enterprise, The Broad operates as a nonprofit organization supported by a combination of gifts from individuals, foundations, and corporate partners. Its governance structure includes a board of trustees and a leadership team responsible for curatorial decisions, acquisitions, education, and community engagement. Proponents of this model argue that private funding can fuel ambitious cultural projects quickly and with less political friction than large-scale public funding. Critics, however, caution that private money can, intentionally or unintentionally, steer programming priorities or limit certain voices if donor preferences become a dominant influence.
Supporters emphasize that the Broad’s model has yielded a high-impact cultural asset for Los Angeles without increasing tax burdens, while expanding access to the arts through free general admission and outdoor, publicly accessible spaces. Opponents of the private-funding model point to concerns about accountability, governance transparency, and the potential for donor influence over what is shown or prioritized. In practice, the Broad has argued that its curatorial choices aim to balance artistic merit with public interest, and that a diverse range of voices is pursued within the framework of artistic value and public accessibility.
The Broad has faced debates common to many museums about representation, inclusion, and the politics of curation. Supporters contend that the institution helps broaden exposure to contemporary art and supports artists who have shaped the field. Critics—some of whom argue from a more conservative or traditional perspective on culture—assert that the art world is increasingly defined by identity-centered debates, which can overshadow broader aesthetic considerations. Proponents of the Broad’s approach to representation respond that inclusive programming expands the audience and reflects a plural society, while maintaining a commitment to quality and innovation. And many observers note that private philanthropy, by enabling rapid experimentation and acquisition, can incentivize a healthy market for contemporary art and support a robust local arts economy.
In the broader context of arts policy, The Broad is often cited in discussions about the role of philanthropy in culture, the balance between access and exclusivity, and the responsibilities of museum governance. It sits alongside other major institutions in [Los Angeles] that together shape how the city negotiates the legacies of modernism, the energy of current practice, and the needs of a diverse urban population.