QUEENS MUSEUM OF ART NEW YORK CITY BUILDING

Financials

From the e-filed returns the IRS publishes as XML (latest three processing years; amended returns replace the original). PDF copies at the IRS.

Officers, directors and key employees

As listed on the 990 for the year ended June 30, 2025, highest compensation first.

Address and contacts

Address (IRS master file)

FLUSHING MEADOW PARK, FLUSHING, NY 11368-0000

Principal officer (990 for 2024)

SALLY TALLANT, NYC BLDGFLUSHING MEADOWS CORONAPARK, QUEENS, NY 11368

Signed the 990

SALLY TALLANT, EXECUTIVE DIRECTOR

Phone

(718) 592-9700

Website

WWW.QUEENSMUSEUM.ORG

Return prepared by

PKF O'CONNOR DAVIES ADVISORY LLC

Mission

THE QUEENS MUSEUM IS DEDICATED TO PRESENTING THE HIGHEST QUALITY VISUAL ARTS AND EDUCATIONAL PROGRAMMING FOR PEOPLE IN THE NEW YORK METROPOLITAN AREA, AND PARTICULARLY FOR THE RESIDENTS OF QUEENS, A UNIQUELY DIVERSE ETHNIC, CULTURAL AND INTERNATIONAL COMMUNITY.THE MUSEUM FULFILLS ITS MISSION BY DESIGNING AND PROVIDING ART EXHIBITIONS AND EDUCATIONAL EXPERIENCES THAT PROMOTE THE APPRECIATION AND ENJOYMENT OF ART, SUPPORT THE CREATIVE EFFORTS OF ARTISTS, AND ENHANCE THE QUALITY OF LIFE THROUGH INTERPRETING, COLLECTING, AND EXHIBITING ART, ARCHITECTURE, AND DESIGN.THE QUEENS MUSEUM PRESENTS ARTISTIC AND EDUCATIONAL PROGRAMS AND EXHIBITIONS THAT DIRECTLY RELATE TO THE CONTEMPORARY URBAN LIFE OF ITS CONSTITUENTS WHILE MAINTAINING THE HIGHEST STANDARDS OF PROFESSIONAL, INTELLECTUAL, AND ETHICAL RESPONSIBILITY.

Program accomplishments

• EXHIBITIONS AND PROGRAMSQM OFFERS A FULL SUITE OF ARTS EDUCATION OFFERINGS FAMILY PROGRAMS ON WEEKENDS, SCHOOL VISITS THROUGHOUT THE WEEK, AND IN AND AFTER-SCHOOL RESIDENCIES WITH LOCAL PUBLIC SCHOOLS. QUEENS TEENS INSTITUTE FOR ART AND SOCIAL JUSTICE (QTI) LEVERAGES QM RESOURCES TO NURTURE THOUGHTFUL, INDEPENDENT YOUNG ARTISTS AND THE NEXT GENERATION OF LEADERS IN THE ARTS AND SOCIAL CHANGE. LONG ADMIRED BY OUR PEERS, QM IS A MODEL FOR EXCELLENCE IN EDUCATION AND PUBLIC PROGRAMMING INITIATIVES SUCH AS WELL-ESTABLISHED AND RESPECTED ARTACCESS EDUCATIONAL PROGRAMMING, INCLUDING OPEN STUDIOS GUIDED TOURS AND WORKSHOPS, DROP-IN FAMILY PROGRAMMING AND SUMMER CAMPS, AS WELL AS INITIATIVES LIKE THE IN SITU ARTIST FELLOWSHIPS AND THE INDIGENOUS PRACTICES STUDIO.OUR EDUCATION PROGRAMMING ALSO SERVES ADULTS, THROUGH OUR NEW NEW YORKERS PROGRAM OFFERS FREE MULTILINGUAL CLASSES TO SUPPORT THE NEEDS OF ADULT IMMIGRANT COMMUNITIES IN QUEENS AS WELL AS OUR CREATIVE AGING WORKSHOPS SERVING OLDER ADULTS. THE MUSEUM ALSO WELCOMES COMMUNITY MEMBERS FOR CULTURAL CELEBRATIONS. OUR LARGEST EVENTS THIS YEAR INCLUDED DIA DES LOS MUERTOS AND LUNAR NEW YEAR.FY25 EXHIBITIONSABANG-GUARDIN MAKIBAKA, ARTIST DUO ABANG-GUARD (MAUREEN CATBAGAN + JEVIJOE VITUG) CONTENDS WITH VISIBILITY THROUGH THE LENS OF IMMIGRATION AND LABOR IN THEIR MULTIDISCIPLINARY PRACTICE. FOR THEIR FIRST MUSEUM SOLO EXHIBITION, ABANG-GUARD RECONFIGURES THE ICONIC ARCHITECTURE OF THE 19641965 NEW YORK WORLD'S FAIR'S PHILIPPINES AND NEW YORK STATE PAVILIONS AS A SCAFFOLD TO STRUCTURE THEIR INVESTIGATION INTO THE LAYERED SIGNIFICANCE OF THE YEAR 1965 IN FILIPINO AMERICAN LABOR HISTORY. ABANG-GUARD TAKES STOCK OF HOW THESE NARRATIVES HAVE BEEN LIVED, REMEMBERED, ERASED, AND FOUGHT FOR. MAKIBAKA, ROUGHLY TRANSLATED FROM TAGALOG AS "COMING TOGETHER FOR CHANGE," IS A RALLYING CRY USED BY FILIPINO MOVEMENTS AND COMMUNITIES IN FIGHTING AGAINST EXPLOITATIVE SYSTEMS. THE SPIRIT OF MAKIBAKA IS WOVEN INTO ABANG-GUARD'S PAINTINGS, SCULPTURES, PERFORMANCES, AND VIDEOS THAT PAY HOMAGE TO SIGNIFICANT FILIPINO AMERICAN SITES.CAMERON GRANGERIN 9999, CAMERON A. GRANGER USES THE FRAMEWORK OF VIDEO GAMES AND MAGIC TO IMAGINE AN ALTERNATIVE METHOD OF LIBERATION FOR BLACK COMMUNITIES FROM THE COMPOUNDING EFFECTS OF RACIST URBAN PLANNING. IN EARLY ROLE PLAYING VIDEO GAMES, DUE TO LOW COMPUTER PROCESSING CAPACITY, 9,999 WAS THE NUMERICAL DAMAGE LIMIT DONE TO A CHARACTER THAT COULD BE REGISTERED ON SCREEN. YET SOMETIMES, ADDITIONAL DAMAGE CONTINUED TO ACCRUE OFF-SCREEN INCAPACITATING, YET UNSEEN. GRANGER TAKES THIS CONCEPT OF THE CONCEALED YET RELENTLESS HARM, AND APPLIES IT TO THE CUMULATIVE CORROSION OF SEGREGATIVE DESIGN, ENVIRONMENTAL RACISM, AND GENTRIFICATION.LYLE ASHTON HARRISDRAWING TOGETHER PHOTOGRAPHS AND INSTALLATIONS FROM BOTH HIS CELEBRATED AND LESSER-KNOWN SERIES, LYLE ASHTON HARRIS: OUR FIRST AND LAST LOVE CHARTS NEW CONNECTIONS ACROSS THE ARTISTIC PRACTICE OF LYLE ASHTON HARRIS (B. 1965, BRONX, NY). THE EXHIBITION EXPLORES HARRIS'S CRITICAL EXAMINATION OF IDENTITY AND SELF-PORTRAITURE WHILE TRACING CENTRAL THEMES AND FORMAL APPROACHES IN HIS WORK OF THE LAST 35 YEARS.CAS HOLMANEXPLORING THE INTERSECTION OF ART MAKING AND PLAY, CAS HOLMAN DESIGNS INNOVATIVE TOYS AND TOOLS THAT INSPIRE PARTICIPATORY IMAGINATION. PROTOTYPING PLAY EXPERIMENTS WITH THE DIFFERENT MODES OF INTUITIVE AND CHILD-DIRECTED FREE PLAY IN AN ART MUSEUM ENVIRONMENT BY EXTENDING THE BODY'S MOVEMENTS WITH UNIQUELY CRAFTED ELEMENTS AND PROMPTS. RELEASED IN TWO PHASES, HOLMAN'S OPEN-ENDED PLAYTHINGS AND PLAYSPACES FOSTER COLLABORATION, INVENTIVE THINKING, AND INTERACTIVITY. PROTOTYPING PLAY INVITES ARTISTS OF ALL AGES TO CREATE, EXCHANGE, COOPERATE, AND LEAVE YOUR MARK THROUGH THESE NEW DEVICES.CAROLINE KENTA SHORT PLAY ABOUT WATCHING SHADOWS MOVE ACROSS THE ROOM (DECEMBER 6, 2023 - DECEMBER 29, 2024) THE CHICAGO-BASED ARTIST'S WORK REINVENTS ABSTRACTION THROUGH EXPLORATIONS OF GEOMETRY, COLOR, AND PATTERN THAT UNFOLD INTO GRAND INSTALLATIONS THAT BLUR LANGUAGE, PAINTING AND SCULPTURE. THE MONUMENTAL INSTALLATION WILL SPAN A 40 X 100-FOOT WALL WHERE PAINTED IMAGES AND HIGH-RELIEF SCULPTURES MERGE INTO SCENES THAT BOTH BREAK INTERPRETATION AND UNDERSCORE ITS TENSIONS. USING AN ALL BLACK BACKGROUND AS HER BASE, THE ARTIST BRINGS TOGETHER "SHADOW SHAPES," IMPROVISED FIGURES AND HAND-PAINTED FLOOR PLANS TO CONSTRUCT DOMESTIC SPACES - DEPICTING ROOMS, GRIDS, AND PLANT LIFE.NSENGA KNIGHTCLOSE TO HOME IS AN INSTALLATION THAT HONORS THE DOMESTIC SPACE AS A CUSTODIAN OF CULTURAL AND SPIRITUAL TRADITIONS BY PROVIDING SUPPORT AND COMFORT TO FORGE APPRECIATION FOR HERITAGE AND THEIR CONTINUITY. MODELED AFTER NSENGA KNIGHT'S FAMILY RESIDENCES FROM THEIR PAST SIX YEARS LIVING IN CAIRO, EGYPT, THE INSTALLATION'S ECLECTIC ATMOSPHERE REFLECTS THE HISTORIC AND COSMOPOLITAN. WHILE FURNISHED IN VARIOUS MATERIALS AND STYLES, OLD AND NEW, THIS FAMILY HOME IS ALSO ADORNED WITH ARTIFACTS FROM THE 1964-1965 NEW YORK WORLD'S FAIR AS WELL AS ARTWORKS BY KNIGHT, INCLUDING PAINTINGS, PRINTS, VIDEOS, AND WALLPAPER.UMBER MAJEEDJOY TECH USES SPECULATIVE FICTION TO OFFER A COUNTER-NARRATIVE OF THE PAKISTAN PAVILION AT THE 19641965 NEW YORK WORLD'S FAIR. MAJEED'S MULTIMEDIA WORKS LOOK AT THE HISTORY OF THE PAVILION THROUGH THE PERSPECTIVE OF THE SOUTH ASIAN DIASPORA, HER ONGOING TRANS-PAKISTAN PROJECT, AND THE VISUAL CULTURE OF PHONE REPAIR SHOPS IN JACKSON HEIGHTS, QUEENS. THE EXHIBITION INCORPORATES AN AUGMENTED REALITY EXPERIENCE, INSTALLATION, VIDEO, DRAWINGS, AND CERAMICS THAT EMPLOY THE LANGUAGE OF THE BOOTLEG OR COUNTERFEIT AS A MODE OF WORLDBUILDING. THE EXHIBITION INCLUDES REFERENCES TO THE PAKISTAN PAVILION'S ARCHITECTURE, DISPLAYS, GOODS FOR SALE, AND OTHER FRAGMENTS OF THE PAVILION THAT CIRCULATE ONLINE. MAJEED EXPLORES HISTORIES THAT ARE IN A CONSTANT STATE OF REDEFINITION, BLURRING THE LINES BETWEEN WHAT MAY BE CONSIDERED OFFICIAL OR UNAUTHORIZED, AUTHENTIC OR PROPAGANDA, LEGIBLE OR OPAQUE.CATALINA SCHLIEBENER MUOZIN BUENOS VECINOS, WHICH TRANSLATES TO "GOOD NEIGHBORS," CATALINA SCHLIEBENER MUOZ CONFRONTS THE IMPACT OF TWO WALT DISNEY ANIMATED FILMS: SALUDOS AMIGOS (1942) AND LOS TRES CABALLEROS (1944). BOTH FILMS EMERGED FROM DISNEY'S STATE-SPONSORED RESEARCH TRIPS TO SOUTH AND CENTRAL AMERICAN NATIONS AS PART OF THE GOOD NEIGHBOR POLICY, WHICH SOUGHT TO DISCOURAGE NAZI INFLUENCE AND IMPROVE THE UNITED STATES' PUBLIC IMAGE IN LATIN AMERICA FOLLOWING ITS NUMEROUS MILITARY INVASIONS THROUGHOUT THE EARLY 20TH CENTURY. DISNEY AND HIS TEAM OF ARTISTS TOURED ARGENTINA, BRAZIL, BOLIVIA, CHILE, PERU, AND MEXICO TO GENERATE VISUAL MOTIFS AND STORYLINES FOR RECOGNIZABLE CHARACTERS LIKE DONALD DUCK AND GOOFY, AS WELL TO CREATE NEW CHARACTERS, SONGS, AND DANCES BASED ON LOCAL CUSTOMS AND ARCHETYPES.A BILLION DOLLAR DREAM: THE 1964-1965 NEW YORK WORLD'S FAIR ON ITS 60TH ANNIVERSARYMARKING THE SIXTY-YEAR ANNIVERSARY OF THE 19641965 NEW YORK WORLD'S FAIR (NYWF), A BILLION DOLLAR DREAM REVISITS THE FAIR THROUGH AN ENVIRONMENTAL, SOCIAL, AND POLITICAL LENS. THIS EXHIBITION TAKES A FRESH LOOK AT THE FAIR'S LEGACY AND IMPACT ON AMERICAN CULTURE BY PLACING MATERIALS FROM THE QUEENS MUSEUM'S COLLECTION IN DIALOGUE WITH THE CONTEXT OF CONCURRENT DOMESTIC ISSUES, INTERNATIONAL POLITICS, AND CULTURAL EVENTS. IN ADVERTISING THE FAIR TO POTENTIAL INVESTORS, ROBERT MOSES, PRESIDENT OF THE NYWF CORPORATION, CALLED IT A "MAGNIFICENT SPECTACLE, SIGNIFICANT MARKETPLACE." THE FAIR DELIVERED ON THIS PROMISE. THROUGH DAZZLING DEMONSTRATIONS AND PRINTED MATERIALS, EXHIBITORS VIGOROUSLY PROMOTED CAR CULTURE, THE EVOLUTION OF LABOR, AND AMERICAN INTERVENTIONISM. THIS EXHIBITION REASSESSES THE WAYS IN WHICH IDEAS OF "PROGRESS," NATIONHOOD, AND REPRESENTATION WERE ADVERTISED AND DISTRIBUTED BY EXAMINING ARCHIVAL PHOTOGRAPHS, DOCUMENTS, POSTCARDS, POSTERS, UNIFORMS, AND OTHER EPHEMERA. TOGETHER THESE OBJECTS REVEAL THAT THE FAIR WAS NOT NEUTRAL GROUND, FLUCTUATING BETWEEN THE PROMISE OF A TECHNO-UTOPIA AND "THE GOOD OLD DAYS." BY CONSIDERING THE IMPACT OF THE FAIR AS BOTH A MARKET-DRIVEN AND SOCIO-CULTURAL PROPAGANDISTIC TOOL, THIS SHOW REFRAMES THE IMPACT OF THE FAIR BY PLACING ITS OFTEN-DISCUSSED IMAGINATIVE INNOVATION WITHIN A LARGER HISTORICAL FRAMEWORK.
  Expenses $2,951,816 · revenue $174,573
• EDUCATIONQUEENS MUSEUM OFFERED A ROBUST RANGE OF EDUCATION PROGRAMS FOR INDIVIDUALS. OUR SCHOOL PROGRAMS CONSIST OF IN-SCHOOL RESIDENCIES, AFTER SCHOOL PROGRAMS, AND SCHOOL TOURS. THESE PROGRAMS ARE HIGHLY ADAPTABLE AND CAN EMPHASIZE ARTS OBJECTIVES, BE INCORPORATED INTO PROJECT-BASED OR SERVICE LEARNING PROJECTS, AND CAN REACH STUDENTS BROADLY OR TARGET SPECIFIC GROUPS. ALL SCHOOL PROGRAMS PROVIDE OPEN AND WELCOME SPACES THAT ENCOURAGE CREATIVITY, INQUIRY, AND COLLABORATION THROUGH HANDS-ON INSTRUCTION AND INTERACTION. CREATIVE AGING WORKSHOPS FOR SENIORS, A SERIES OF FOUR WORKSHOPS THROUGHOUT THE YEAR, COMPRISE 10 SESSIONS ONCE PER WEEK OF ARTISTIC CREATION, WITH EACH WORKSHOP FEATURING A DIFFERENT TYPE OF ARTISTIC MEDIUM, SUCH AS CREATIVE JEWELRY MAKING, PRINTMAKING, AND PORTRAITURE. IN ADDITION TO REDUCING SOCIAL ISOLATION AND IMPROVING MOTOR SKILLS, THESE WORKSHOPS CELEBRATE THE UNIQUE ROLES OF SENIORS IN THE FAMILY AND AS ACTIVE CONTRIBUTORS TO A BROADER SOCIAL FABRIC. THE WORKSHOPS CULMINATE IN A FINAL PRESENTATION WHERE PARTICIPANTS CAN SHARE THEIR WORKS WITH FAMILY AND FRIENDS. QUEENS MUSEUM ALSO CONDUCTS SENIOR WORKSHOPS THROUGH NEW YORK CITY'S SU-CASA PROGRAM. THESE WORKSHOPS ARE STRUCTURED SIMILARLY TO THE ARTISTRY IN BLOOM WORKSHOPS, WITH 7-9 SESSIONS OF ARTMAKING AND ONE FINAL PRESENTATION. IN 2024-25, WE SERVED HUNDREDS OF OLDER ADULTS THROUGH WATERCOLOR PAINTING, ACRYLIC PAINTING, AND BASKETRY SU-CASA PROGRAMS, AND WE EXPECT TO SERVE A SIMILAR NUMBER THIS YEAR.THE QUEENS TEENS INSTITUTE FOR ART AND SOCIAL JUSTICE (QTI) WAS DEVELOPED OUT OF OUR ORIGINAL QUEENS TEENS PROGRAM AND IN RESPONSE TO THE TEENS EXPERIENCING LOSS, RACISM, AND XENOPHOBIA DURING THE HEIGHT OF THE COVID-19 PANDEMIC. TEENS EXPRESSED AN INTEREST IN BECOMING CATALYSTS FOR CHANGE, AND THE QTI WAS DEVELOPED WITH THEIR INPUT TO NURTURE AND DEVELOP THE NEXT GENERATION OF LEADERS IN THE ARTS AND SOCIETY AT LARGE. BETWEEN 20 - 25 HIGH SCHOOL JUNIORS AND SENIORS JOIN A LEADERSHIP COHORT AT QM FROM NOVEMBER TO JUNE TO PARTICIPATE IN WEEKLY WORKSHOPS ONSITE AT THE MUSEUM OR VIRTUALLY, AND ARE PROVIDED WITH A $1,000 STIPEND AND MONTHLY METROCARD TO HELP OFFSET TRAVEL COSTS. THE TEENS DEVELOP THE THEME AND GOALS OF THE PROGRAM IN RESPONSE TO A SOCIAL JUSTICE ISSUE THEY FIND MOST PRESSING WHILE LEARNING TANGIBLE LIFE SKILLS, INCLUDING TIME MANAGEMENT, PROJECT DEVELOPMENT AND IMPLEMENTATION, AND COLLABORATION. THE PROGRAM CULMINATES IN AN ART EXHIBITION AND RECEPTION AT QM THAT CELEBRATES THEIR WORK AND ACCOMPLISHMENTS.INTERPRETATION AT QMQM HAS MADE GREAT STRIDES IN BECOMING AN INSTITUTION THAT IS MORE ACCESSIBLE TO PEOPLE WITH DISABILITIES. WE HAVE PARTNERED WITH BLOOMBERG PHILANTHROPIES TO INCLUDE QM ON THE BLOOMBERG CONNECTS APP, WHICH HAS ALLOWED US TO PROVIDE TYPED DESCRIPTIONS OF OUR PERMANENT EXHIBITIONS, AND TYPED AND AUDIO DESCRIPTIONS OF OUR TEMPORARY EXHIBITIONS. AS PART OF OUR EXHIBITION EMILIE LOUISE GOSSIAUX: OTHER-WORLDING (12.6.23 - 4.7.24), WE OFFERED TWO TOUCH TOURS FOR LOW VISION AND BLIND PARTICIPANTS, WHICH EXPLORED HOW THE AESTHETICS OF TOUCH, VISUAL ART, LANGUAGE, AND CARE ARE INTERCONNECTED THROUGH THE CREATIVE EXCHANGE OF DESCRIPTION. THESE TOURS WERE EXTREMELY POPULAR, AND WE HAVE CONTINUED TOUCH TOURS AND ADDED AMERICAN SIGN LANGUAGE TOURS FOR EACH EXHIBITION SINCE THE CLOSURE OF EMILIE'S EXHIBITION. ADDITIONALLY, WE HAVE INSTALLED GUIDELINES ON THE MUSEUM'S FIRST FLOOR TO ASSIST OUR BLIND AND LOW VISION VISITORS WITH NAVIGATION.
  Expenses $746,452 · grants $18,000 · revenue $59,564
• PUBLIC PROGRAMS AND COMMUNITY ENGAGEMENTQM CONDUCTS FAMILY WORKSHOPS ON A DROP-IN BASIS ONE WEEKEND PER MONTH, SATURDAY AND SUNDAY FROM 12-3 PM. ACTIVITIES OFFER FAMILIES THE OPPORTUNITY TO REFLECT ON THE ARTWORKS PRESENTED IN OUR EXHIBITIONS AS THEY WORK COLLABORATIVELY TO CREATE UNIQUE WORKS OF THEIR OWN USING A VARIETY OF MATERIALS UNDER THE GUIDANCE OF SKILLED TEACHING ARTISTS. NO PRIOR REGISTRATION IS REQUIRED, AND FAMILIES CAN ARRIVE AND DEPART ANYTIME BETWEEN 12 AND 3 PM. THESE WORKSHOPS ACCOMMODATE DIVERSE LEARNERS, AND ARE ACCESSIBLE TO FAMILIES WHO HAVE CHILDREN WITH SPECIAL NEEDS AND ENGLISH LANGUAGE LEARNERS.ARTACCESS, WHICH BEGAN IN 1983 AS PLEASE TOUCH TO PROVIDE ART EDUCATION FOR THE VISUALLY IMPAIRED, HAS GROWN INTO A NATIONAL REPLICATED MODEL PROGRAM. ANCHORING ARTACCESS IS OUR OPEN STUDIOS PROGRAM, WORKSHOPS DESIGNED FOR INDIVIDUALS WITH DISABILITIES THAT ARE HELD ONSITE AT THE MUSEUM ONCE PER MONTH. SPECIALLY TRAINED TEACHING ARTISTS ENCOURAGE PARTICIPANTS TO EXPRESS THEMSELVES WHILE EXPERIMENTING WITH NEW AND VARIED MATERIALS. WORKSHOPS ARE HELD ONSITE AT THE MUSEUM ON THE FIRST SATURDAY AND SUNDAY OF EACH MONTH, WITH ONE WORKSHOP FOR PARTICIPANTS AGES 8-12 AND ONE WORKSHOP FOR PARTICIPANTS AGES 13 AND UP. THE GOAL OF ARTACCESS IS TO CREATE OPPORTUNITIES FOR PEOPLE WITH DISABILITIES TO EXPRESS THEMSELVES CREATIVELY, DEVELOP NEW SKILLS, AND ENGAGE WITH THE MUSEUM, OUR STAFF, AND THE VARIED PROGRAMMING WE PRODUCE. IN FY25, WE SERVED 366 INDIVIDUALS WITH OPEN STUDIOS.
  Expenses $214,573 · revenue $5,800

What it must file and when

IRS records say it files Form 990 or 990-EZ. Based on its last return; a smaller organization may file the 990-N. Its accounting year ends in June, so each return is due on the 15th day of the 5th month after that.

IRS record

EIN

11-2278998

Tax-exempt status

501(c)(3): Charitable, religious, educational or scientific organization

Foundation status

Publicly supported organization (170(b)(1)(A)(vi))

Donations deductible (Pub 78)

Public charity, 50% deduction limit

Exempt since

1972

Accounting year ends

June

Files

Form 990 or 990-EZ

Category (NTEE)

Arts, culture and humanities (A510)

Assets (IRS master file)

$36,805,508

Income (IRS master file)

$8,357,647

Filing history

990-N: the IRS bulk file holds only the latest e-Postcard per organization; earlier years come from archived copies of that file since 2020 and can have gaps (the IRS e-Postcard search lists every one). 990, 990-EZ, 990-PF, 990-T: every e-filed return in the IRS e-file index since 2019; XML for the latest three processing years, amounts from the IRS Statistics of Income extracts before that. PDF copies and determination letters at the IRS (search EIN 11-2278998).

Questions about QUEENS MUSEUM OF ART NEW YORK CITY BUILDING

What is the EIN of QUEENS MUSEUM OF ART NEW YORK CITY BUILDING?

The employer identification number (EIN) of QUEENS MUSEUM OF ART NEW YORK CITY BUILDING is 11-2278998.

Is QUEENS MUSEUM OF ART NEW YORK CITY BUILDING tax-exempt?

Yes. The IRS lists it as tax-exempt under section 501(c)(3) since 1972.

Are donations to QUEENS MUSEUM OF ART NEW YORK CITY BUILDING tax-deductible?

Yes. It is listed in IRS Publication 78 (Public charity, 50% deduction limit).

Which annual return does QUEENS MUSEUM OF ART NEW YORK CITY BUILDING file?

Form 990 or 990-EZ. Based on its last return; a smaller organization may file the 990-N.

When is the next return of QUEENS MUSEUM OF ART NEW YORK CITY BUILDING due?

The return for tax year 2025 (the year ending June 30, 2026) is due November 16, 2026. Form 8868 extends it by six months; the 990-N cannot be extended.

When did QUEENS MUSEUM OF ART NEW YORK CITY BUILDING last file with the IRS?

The latest return in the IRS public files is the 990 for the year ended June 2025.

Who is the principal officer of QUEENS MUSEUM OF ART NEW YORK CITY BUILDING?

The 990 for the year ended June 30, 2025 names SALLY TALLANT.

Who are the officers and directors of QUEENS MUSEUM OF ART NEW YORK CITY BUILDING?

The 990 for the year ended June 30, 2025 lists 25 people; 3 received compensation from the organization, the highest $297,330 (SALLY TALLANT, EXECUTIVE DIRECTOR).

How much revenue does QUEENS MUSEUM OF ART NEW YORK CITY BUILDING have?

On its 990 for the year ended June 30, 2025 it reported revenue of $7,793,344, expenses of $6,377,998 and total assets of $36,805,508 at year end.

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