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A Statement on Modern Art 

The Institute of Contemporary Art, Boston, The Museum of Modern Art, New York, and the Whitney Museum of our time, have joined in the following statement of general principles governing their relation to contemporary art. This statement is made in the hope that it may help to clarify current controversial issues about modern art, which are confusing to the public and harmful to the artist. Its object is not to bar honest differences of opinion, but to state certain broad principles on which we are agreed. 

The field of contemporary art is immensely wide and varied, with many diverse viewpoints and styles. We believe that this diversity is a sign of vitality and of the freedom of expression inherent in a democratic society. We oppose any attempt to make art or opinion about art conform to a single point of view.

We affirm our belief that in the continuing validity of what is generally known as modern art, the multiform movement which was in progress during the opening years of the twentieth century and which has produced the most original and significant art of our period. We believe that the modern movement was a vital force not only in its pioneer phases, but that its broad, everchanging tradition of courageous exploration and creative achievement is a vital force today, as is proved by the continuing capacity of the younger generation of artists to embody new ideas in new forms. At the same time we believe in the validity of conservative and retrospective tendencies when they make creative use of traditional values. We do not assume that modernity in itself is any guarantee of quality or importance.

We believe that a primary duty of a museum concerned with contemporary art is to be receptive to new tendencies and talents. We recognize the historic fact that the new in art, as in all other creative activities, is appreciated at first by a relatively small proportion of the public; almost all the art of the past hundred years and fifty years now generally accepted as good was originally misunderstood, neglected or ridiculed not only by the public but by many artists, critics and museum officials. We place in evidence the careers of Blake, Turner, Constable, Delacroix, Corot, Millet, Courbet, Manet, Whistler, Monet, Cézanne, Renoir, Rodin, Gauguin, van