UPDATED APRIL 6, 2026
MADISON, Wis. — The Chazen Museum of Art at the University of Wisconsin–Madison (UW–Madison) is undertaking a comprehensive reinstallation of its permanent collection, moving away from a traditional chronological and geographic organization and adopting an object-centered approach. Each gallery will include a deeply researched focus object that will anchor a constellation of works from across time, media and cultures with common connections. This change, slated to debut in fall 2026 with the reopening of the museum’s Elvehjem building, will provide multiple paths to engagement; encourage close looking and discovery; prompt contemplation, comparison and contrast; and ultimately foster deeper connections between art and daily life. This new model for exhibiting the Chazen’s holdings will also allow for more flexible approaches to collecting in the future and celebrate new forms of exploration with museum visitors as well as students, faculty and staff at UW–Madison.
“The Chazen Museum of Art’s reinstallation represents a subtle yet profound shift toward seamless engagement and demonstrates the art museum’s power to forge new understandings and actively engage with the rapidly changing world,” said Amy Gilman, director of the Chazen Museum of Art and senior director for the arts and media at UW–Madison. “As an institution committed to remaining nimble, taking risks and adapting to change, the Chazen will present the permanent collection in a way that will make the museum experience more enriching and intellectually accessible for everyone.”
As a museum embedded in a leading research university, the Chazen Museum of Art leveraged the expertise of UW–Madison faculty, staff and students across diverse fields — from history and religion to material sciences and studio art — to guide its reinstallation. This collaboration has helped the Chazen reconsider gallery themes and checklists, successfully integrate new scholarship and maximize interdisciplinary connections with art.
The long-contemplated project began several years ago with curators and subject matter experts conducting a deep exploration of the more than 25,000 artworks in the Chazen’s care, including studio glass, figurative ceramics, modern Midwest painting, Japanese woodcuts and more. Stepping away from hierarchies that are common in art museums, the reinstallation highlights strengths in the collection, showcasing works previously less emphasized and weaving important threads through social history.
The reinstallation is rooted in visitor experience. As a part of this effort, the staff carefully considered what makes museums special alongside elements that might intimidate visitors. Staff incorporated research on visitor interaction with artwork — from how long guests linger to contemplate works to the amount of time spent reading labels. One-on-one and small group meetings with experts at UW–Madison and in the broader community ensure the reinstallation is structured to resonate with a wide range of perspectives. The Chazen will continue to gather visitor feedback through observation and surveys.
Using this valuable information, the Chazen is reinstalling its collection to spark wonder rooted in intellectual engagement. While visitors might not notice drastic changes, they will recognize a refined focus that encourages seamless interactions with both objects and their accompanying labels. This thoughtful process ensures that while the space feels familiar, visitors will enjoy deeper and more rewarding connections with the art, creating an elevated museum experience. With comfortable spaces in the galleries to reflect, visitors will have the opportunity to delve deeper into artistic processes and enjoy enriching conversations about the art world, ultimately fostering a more engaging art museum experience that both accurately explores the past and is easily adaptable for the present.
“The Chazen’s reinstallation highlights the art museum’s power to shape contemporary discourse and sets an important precedent for the museum field that other institutions can adopt or learn from as they respond to their own unique collections,” said Katherine Alcauskas, chief curator at the Chazen Museum of Art. “The Chazen’s reinstallation gives renewed attention to time-honored favorites from the collection, illuminating them with fresh perspectives from new scholarship. This approach will allow visitors to discover something new about familiar pieces and facilitate encounters with works that are new to them.”
The Chazen’s reinstallation also makes the educational components of art more legible to a wider community, emphasizing its connection to social issues and ability to illuminate other fields. Designed to significantly enhance the Chazen’s mission as a learning institution, the reinstallation mirrors object-based learning, a method the Museum has successfully employed with classes at UW–Madison. This approach illustrates how a single artwork can be considered across various disciplines. By mixing genres, mediums and eras, the reinstallation provides a unique opportunity for collaboration, demonstrating how museums can actively enhance learning rather than simply serving as viewing spaces.
By approaching artwork from different disciplinary perspectives, the reinstallation will enhance knowledge accessibility for visitors, creating various educational entry points for experiencing the beauty and complexity of the collection.