Jessica Morgan has been appointed as the new director of Tate, returning to the British arts institution she previously served as a curator. She is set to begin her tenure on January 1, succeeding Maria Balshaw, who stepped down in the spring after nine years in charge. Morgan’s appointment comes at a critical moment for the 129-year-old institution, which includes gallery sites in London, Liverpool, and Cornwall.

Morgan, 57, has been leading the Dia Art Foundation in New York since 2015. Prior to that, she held curatorial and senior roles at Tate between 2002 and 2014, during which she was instrumental in acquiring works by artists from regions such as the Middle East, South Asia, South Korea, and Latin America. Morgan studied art history at Cambridge University and the Courtauld Institute of Art. Her career has been marked by efforts to highlight underrepresented artists and to build relationships with donors and philanthropists.

Her appointment as Tate director was confirmed after a competitive process that included interim director Karin Hindsbo and Laurence des Cars, former head of the Louvre Museum. Roland Rudd, chair of Tate’s board, described Morgan as a “phenomenal” choice who impressed with her ideas and leadership style. He noted that Morgan had accepted a “very big pay cut” to take the role, with her salary at Tate expected to be capped near the level earned by Balshaw—estimated between £220,000 and £225,000—which is significantly lower than her earnings at Dia.

Tate faces a range of challenges as Morgan takes the helm. The institution has endured financial difficulties exacerbated by the Covid-19 pandemic, resulting in restructuring and staff redundancies. Visitor numbers, projected at around six million for 2024-25, remain below pre-pandemic levels despite successful exhibitions, including retrospectives of Dame Tracey Emin and shows highlighting artists such as Frida Kahlo and Ana Mendieta. Recently, Tate experienced its highest pre-selling exhibition tickets ever for the Kahlo show.

Morgan’s agenda will likely include strengthening Tate’s financial health through increased philanthropy and visitor engagement, as government funding now accounts for about one-third of Tate’s income and has seen real-term cuts. She will also face strategic decisions regarding Tate’s multi-site structure and its relationship with other national institutions, such as the National Gallery, which has ambitions to expand into 20th-century art—a move that some within Tate view with concern.

Broader debates in the cultural sector will also require Morgan’s navigation, including government proposals to introduce entry charges for overseas visitors to major institutions. Tate has traditionally maintained free admission, and while Morgan has not yet publicly commented on the proposal, her previous leadership at Dia emphasized accessibility and free entry.

Morgan’s return to Tate has been met with optimism from various figures in the art world. Filmmaker Sir Steve McQueen, whose retrospective was held at Tate Modern six years ago, expressed confidence in her leadership. Rudd praised her ability to effect change while maintaining collaboration, signaling a new phase for Tate as it seeks to balance tradition with innovation amidst ongoing financial and cultural challenges.