The U.S. Pavilion at the 2024 Venice Biennale faces an urgent funding shortfall that may leave its sculptures stranded in Italy, according to a recent appeal for donations to cover the cost of deinstallation and shipping. The biennial event, one of the most prestigious in the international art world, runs from May to November, attracting hundreds of thousands of visitors.
Jenni Parido, commissioner of the U.S. Pavilion and head of the nonprofit American Arts Conservancy, disclosed in a letter to potential donors that the organization had raised approximately $1.4 million—well short of the total budget of under $2.5 million. She described the situation as a significant financial challenge requiring immediate resolution to secure the artworks’ safe return to the United States.
The State Department provided a limited grant of $375,000 toward mounting the American exhibition but stated it was not involved in fundraising and declined further comment. Historically, participation in the Venice Biennale was overseen by museum professionals and curators selected through an independent State Department panel. This year’s process deviated from tradition, with Parido, who lacks professional arts credentials and previously operated a pet boutique in Florida, appointed by the department following a recommendation from Erin Scavino, a close associate of former President Trump.
The new approach to selection markedly shifted the pavilion’s leadership structure and funding model. Parido’s nonprofit organized private fundraising events, including gatherings at Art Basel Miami Beach and former President Trump’s Mar-a-Lago resort. Among donors were fashion designer Tommy Hilfiger and John Phelan, a former U.S. Navy secretary.
The exhibition’s artistic scope was also affected by challenges. Sculptor Alma Allen, the sole artist whose work ultimately featured in the pavilion, reported little oversight from Parido and curator Jeffrey Uslip. Allen, who lives in Mexico, said neither commissioner nor curator visited his studio or closely managed the installation of his large-scale stone and metal works. Relations between Allen and Uslip deteriorated during the event’s preview phase, and Allen noted he had received only limited travel reimbursements without involvement in funding concerns.
The American Arts Conservancy did not respond to inquiries regarding contingency plans if funds to dismantle and ship the pieces are not secured. Past U.S. pavilion exhibitions typically operated with budgets larger than this year’s, with costs around $5 million in 2024 and nearly $7 million in 2022. Previous commissioners were required to present detailed budgets and institutional support sufficient to guarantee operational continuity.
Art historian Katy Siegel, a former pavilion curator, expressed concern over the lack of financial oversight and the uncertain fate of the artworks, noting the absence of on-site storage space in Venice and limited alternatives for housing large sculptures. The Guggenheim Foundation, responsible for pavilion maintenance, lacks capacity for works of Allen’s scale, complicating the pavilion’s logistics.
With the Biennale concluding this fall, the efforts of the American Arts Conservancy to raise the remaining funds will determine whether the U.S. Pavilion’s exhibits can be safely returned stateside or remain at risk of indefinite detention abroad.