After nearly a decade at the helm, Maria Balshaw is stepping down as director of Tate in 2026, leaving behind a legacy marked by resilience and innovation. But here's where it gets controversial: while some celebrate her efforts to diversify audiences and champion marginalized artists, others question the financial stability and attendance declines during her tenure. Was her leadership a triumph of inclusivity or a struggle against insurmountable challenges?
Balshaw’s nine-year reign was anything but ordinary. Taking the reins in June 2017, fresh from her acclaimed leadership at Manchester’s Whitworth, she faced the unprecedented crisis of the Covid-19 pandemic. Fluctuating visitor numbers and financial instability became her constant companions, yet she pressed on, steering Tate through turbulent waters. In her own words, it was a privilege to lead, but now it’s time to pass the baton. “With a growing and increasingly diverse audience, and a brilliant forward plan in place, I feel now is the right time,” she said. Her final project? The highly anticipated Tracey Emin exhibition—a fitting conclusion to her tenure, given her passion for working closely with artists.
Described as a “trailblazer” by Tate chair Roland Rudd, Balshaw remained steadfast in her belief that art should be accessible to all. And this is the part most people miss: under her leadership, Tate spotlighted previously marginalized voices through groundbreaking group shows like Women in Revolt and Life Between Islands. Yet, her tenure wasn’t without controversy. From high-profile scandals, including a six-figure settlement over discrimination allegations, to staff strikes over pay and conditions, Balshaw’s leadership was tested at every turn.
Inheriting a sprawling institution with four UK sites and rising costs, she faced the unenviable task of following Nicholas Serota, the visionary behind Tate Modern. Despite challenges, she oversaw successes like Steve McQueen’s Year 3, a monumental project capturing the portraits of 76,000 London schoolchildren. But here’s a thought-provoking question: Did her criticism of fossil fuel sponsorships—like the British Museum’s £50m BP deal—alienate potential funders, or did it align Tate with public sentiment?
Attendance figures tell a complex story. While Tate Modern and Tate Britain saw a 27% decline since 2019, Balshaw noted that 2019 was Tate’s most successful year ever. The recent 25th anniversary of Tate Modern drew over 76,000 visitors—a hopeful sign of recovery. Yet, the expansion of the National Gallery into modern art has raised concerns about competition, though Balshaw welcomed the move.
As the search for her successor begins, overseen by the Department for Culture, Media and Sport and Tate trustees, one can’t help but wonder: What will the next chapter hold for Tate? Balshaw, meanwhile, looks forward to her next endeavors, focusing on artistic collaborations and writing. Her departure leaves a void, but also an opportunity to reflect: How do we balance accessibility, financial sustainability, and artistic integrity in the ever-evolving world of art?
What’s your take? Did Balshaw’s leadership leave Tate stronger, or are there lessons to be learned from her challenges? Share your thoughts in the comments—let’s spark a conversation!
