Fatoş Üstek is an independent curator and writer and a leading voice in contemporary art. She was previously Director of the Liverpool Biennial, Director of the Roberts Institute of Art, Associate Curator of the 10th Gwangju Biennial, South Korea and Curator of Frieze Sculpture 2023. In 2015 she was the Art Fund Curator at fig-2, a ground-breaking project which presented 50 projects in 50 weeks.

‘This is a clear-eyed look at how art institutions need to evolve in response to structural change. Drawing on research and interviews, it outlines where existing models fall short and how they might be rethought. It is particularly relevant for those involved in shaping organisations, offering a framework for aligning mission, structure and public relevance in a rapidly shifting landscape.’ – Celine Choon, ‘The books art professionals are reading right now’, www.artrabbit.com, 30 March 2026

• Foreword; Acknowledgements; Guidance for Use of the Term Art Institution; Introduction; 1 Realigning Institutions with their Core Purpose; 2 Institutional Learning: Embracing the Contemporary World; 3 Reconfiguring the Organisational Structure; 4 Future Proofing the Business Model; Conclusion: The New Model; Notes; Further Reading; Index

Fatoş Üstek is an independent curator and writer and a leading voice in contemporary art. She was previously Director of the Liverpool Biennial, Director of the Roberts Institute of Art, Associate Curator of the 10th Gwangju Biennial, South Korea and Curator of Frieze Sculpture 2023. In 2015 she was the Art Fund Curator at fig-2, a ground-breaking project which presented 50 projects in 50 weeks.

‘This is a clear-eyed look at how art institutions need to evolve in response to structural change. Drawing on research and interviews, it outlines where existing models fall short and how they might be rethought. It is particularly relevant for those involved in shaping organisations, offering a framework for aligning mission, structure and public relevance in a rapidly shifting landscape.’ – Celine Choon, ‘The books art professionals are reading right now’, www.artrabbit.com, 30 March 2026

• Foreword; Acknowledgements; Guidance for Use of the Term Art Institution; Introduction; 1 Realigning Institutions with their Core Purpose; 2 Institutional Learning: Embracing the Contemporary World; 3 Reconfiguring the Organisational Structure; 4 Future Proofing the Business Model; Conclusion: The New Model; Notes; Further Reading; Index

Fatoş Üstek is an independent curator and writer and a leading voice in contemporary art. She was previously Director of the Liverpool Biennial, Director of the Roberts Institute of Art, Associate Curator of the 10th Gwangju Biennial, South Korea and Curator of Frieze Sculpture 2023. In 2015 she was the Art Fund Curator at fig-2, a ground-breaking project which presented 50 projects in 50 weeks.

‘This is a clear-eyed look at how art institutions need to evolve in response to structural change. Drawing on research and interviews, it outlines where existing models fall short and how they might be rethought. It is particularly relevant for those involved in shaping organisations, offering a framework for aligning mission, structure and public relevance in a rapidly shifting landscape.’ – Celine Choon, ‘The books art professionals are reading right now’, www.artrabbit.com, 30 March 2026

• Foreword; Acknowledgements; Guidance for Use of the Term Art Institution; Introduction; 1 Realigning Institutions with their Core Purpose; 2 Institutional Learning: Embracing the Contemporary World; 3 Reconfiguring the Organisational Structure; 4 Future Proofing the Business Model; Conclusion: The New Model; Notes; Further Reading; Index