Author Archives: Max van Balgooy

About Max van Balgooy

President of Engaging Places LLC, a design and strategy firm that connects people to historic places.

Field Notes: Shifting the Narrative at the Portland Art Museum

I recently visited the Portland Art Museum following the completion of its major renovation, which connected its two historic buildings with a new central Mark Rothko Pavilion as its main entrance. Among the exhibitions that caught my attention was Shifting the Narrative: 21st Century Acquisitions, which provides an unusually direct look at how a museum is reconsidering the interpretation of Native American art through collecting, exhibitions, and relationships with Native artists and communities. The Portland Art Museum holds more than 3,500 Native American objects representing approximately 200 Indigenous cultural groups throughout the Americas.

Opened in November 2025, Shifting the Narrative is partly an exhibition about art and partly an exhibition about changing museum practice. The temporary exhibition includes both contemporary and historical works in photography, sculpture, fashion, basketry, painting, and printmaking. Organized chronologically by acquisition period, the exhibition begins with its collecting of Native American art in 1918, with major additions of Northwest Coast objects in 1948. It then turns to its efforts to actively expand the collection through contemporary acquisitions since 2000 to better reflect the region and amplify diverse Native voices, including Wendy Red Star, Will Wilson, and Julie Buffalohead.

The second half of the exhibition focuses on the history of the museum itself. It outlines the museum’s relationships with artists, visitors, students, and Native communities. It initially acquired works as opportunities arose, then in 1991 created a dedicated curator of Native American art, which help build relationships with contemporary artists. A diagram shows how the collection grew and changed over time, including through sale and repatriation. This section of the exhibition also invites visitors to discuss their experiences with Native American art and test their knowledge of Native American art.

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Why Strategy Is Not a Long-Range Plan: The Big Idea in “Playing to Win”

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I’ve spent a lot of time over the years thinking and writing about mission statements, strategic plans, and how museums decide what matters most. One persistent problem is that cultural organizations are very good at identifying worthwhile things to do—and much less comfortable deciding what they won’t do. Reading A.G. Lafley and Roger Martin’s Playing to Win gave me another way to think about this problem. Their basic argument is deceptively simple: strategy is not a plan; it is an integrated set of choices.

That connects closely with something I’ve argued before on EngagingPlaces.net: a mission statement should do more than describe the work of an organization. Ultimately, we need to ask, “To what end?” Lafley and Martin push that question further with what they call a “winning aspiration.” For museums, I don’t think “winning” needs to mean beating another museum. It means being clear about the difference we intend to make—and for whom. A museum can have an admirable mission to preserve, educate, inspire, and serve the public, but those aspirations still don’t tell staff and board members what they should actually do Monday morning.

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Field Notes: Places of Pride at the Architectural Heritage Center

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*The main permanent exhibition at the Architectural Heritage Center in Portland, Oregon.*

During a summer visit to Portland, Oregon, we stopped at the Architectural Heritage Center to conduct research but also visited their exhibitions, including When Doors Open: Places of Pride, which examined places associated with the city’s LGBTQ+ history. These places are often overlooked in museum exhibitions and historic preservation, which makes this exhibition especially useful as a reference for museums and historic sites thinking about how to interpret communities whose histories may be embedded in buildings, gathering places, businesses, and neighborhoods rather than conventional museum collections.

Opened in July 2025, Places of Pride explores the relationship among identity, place, and memory. The exhibition focuses on homes, gathering places, businesses, and other spaces that served not simply as physical settings but as places of belonging, support, activism, and community formation for LGBTQ+ Portlanders. It also highlights LGBTQ+ preservationists and activists who worked to protect buildings and places important to the city’s history.

The subject has a particularly strong connection to the Architectural Heritage Center itself. Its origins lie with Ben Milligan and Jerry Bosco, a gay couple who began collecting architectural elements salvaged from Portland buildings during the 1960s as professional partners. Together they accumulated stained glass, doors, hardware, tiles, mantels, lighting, and other architectural fragments while also acquiring and preserving historic properties. After both were diagnosed with AIDS in the 1980s, they developed plans for the Bosco-Milligan Foundation so that their collection could continue to support preservation education. The Architectural Heritage Center eventually opened to the public in 2005.

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Field Notes: “Experience Oregon” at the Oregon Historical Society

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Most of us see only a small fraction of the exhibitions being produced by museums around the country. Experience Oregon, the permanent exhibition at the Oregon Historical Society in Portland, offers one example of how a state history museum can combine collections, media, immersive environments, and interactive experiences to tell a broad and complicated story.

Opened in February 2019, Experience Oregon occupies the museum’s entire third floor and explores Oregon history from human settlement to the present. Rather than relying entirely on a chronological narrative, the exhibition makes connections across time through subjects such as home, movement, and water, while emphasizing the relationships among people, communities, and the land. More than 300 objects and archival materials from the Oregon Historical Society’s collections appear throughout the exhibition.

The exhibition offers many different ways to encounter that history. Visitors begin with a panoramic theater introducing Oregon’s landscapes, people, and major themes. Elsewhere they can walk through a covered wagon, explore maps, listen to personal narratives, encounter historic photographs and artifacts, participate in debates about historical issues, and learn about subjects ranging from Indigenous cultures and treaty-making (or treaty-breaking!) to migration, racism, immigration, civil rights, industry, transportation, politics, and social change. OHS described more than twenty interactive stations when the exhibition opened, including sensory experiences that use smells associated with salmon, hazelnuts, and wheat.

The exhibition was designed by The Design Minds and fabricated by 1220 Exhibits. Digital media is integrated throughout rather than concentrated in a single area. North Shore Productions developed the exhibition’s media, including the panoramic introductory film, archival documentaries, audio narratives, and a film about the revitalization of Chinuk Wawa. Upswell developed several of the interactive experiences, including map-based explorations, stations where visitors consider issues from Oregon’s past, and a digital “Memory Blanket” that allows visitors to assemble a personal record of their experience.

The exhibition received a 2020 Leadership in History Award from the American Association for State and Local History and a 2020 Special Achievement – Informed by Community Voices Award from the American Alliance of Museums.

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Join Me in Providence at AASLH/NCPH 2026

I’ll be in Providence, Rhode Island, September 16–19 for the 2026 joint annual meeting of the American Association for State and Local History and the National Council on Public History. This year’s theme, The Work of Revolution, seems particularly apt at a moment when museums and public history organizations are reconsidering how we work, whom we serve, and how we sustain public trust.

I’ll be participating in several conversations during the conference, and I hope you’ll join me for one—or find me in the halls and say hello.

Wednesday, September 16, 5:30 p.m. — History Leadership Institute Reception

I’ll start the conference at the History Leadership Institute reception. If you’re curious about HLI, thinking about applying, or are one of its graduates, please join us. The reception is an opportunity to meet alumni, facilitators, current participants, and others interested in leadership in the history field.

HLI has long been one of the profession’s most distinctive opportunities to step away from day-to-day responsibilities and think more broadly about leadership, organizations, and the future of our field. I’m always glad to talk with people considering whether it might be right for them.

Thursday, September 17, 8:30 a.m. — Love the Mission, Fix the Job: Rethinking Museum Work

Thursday morning I’ll be part of a facilitated discussion about museum workplace culture. Debates about museum work have flourished online and through worker-led movements, while our formal professional literature has often struggled to keep pace.

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Beyond “Learn” and “Appreciate”: Writing Better Visitor Outcomes

Note: I revised this post on October 2, 2026 to clarify the terminology: Outcome Levels changed to Outcome Types. Outcome Types describe the kind of change an experience is intended to encourage. Ambition Levels describe the degree of change it is reasonable to expect.

A few months ago, I shared a preliminary framework for rethinking learning outcomes at historic sites. I was trying to solve a problem I had encountered repeatedly: educational taxonomies developed for classrooms do not always translate well to historic sites and house museums. Visitors are not students enrolled in a semester-long course. They arrive with different motivations, prior knowledge, amounts of time, and degrees of interest. I proposed a framework organized around two ideas—Outcome Levels and Ambition Levels—that better reflect the visitor journey and the practice of interpreting history.

Since then, I’ve continued testing and refining those ideas. One part of that work has been developing a more practical vocabulary for writing outcomes at each level. The result is a new six-page handout, What You Want Visitors to Know, Feel, or Do: Five Outcome Types for Historic Sites and House Museums, which I’m sharing with this post (and subject to change!). I also realized that using “levels” for both is confusing and that Outcome Levels may suggest that a higher level is better than a lower one, thus I changed to Outcome Types (I’ll restate this again later to reinforce the distinction).

Historic sites and house museums often begin planning interpretation by asking what stories they want to tell, which objects they want to display, or what activities visitors should experience. Those are important questions, but they don’t define success.

A stronger starting point is:

What do we want visitors to know, feel, or do as a result of this experience?

That shift—from what the museum presents to what happens for the visitor—can make interpretation much more intentional.

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Swiss Museums in Sixty Seconds: Five Short Tours and a Longer Conversation

After visiting more than fifty museums and historic sites across Switzerland, I returned with far more observations than I could fit into a few blog posts—or a few hundred photographs. My three recent posts examined recurring patterns across Swiss museums: the influence of private collectors on art museums, changing approaches to interpretation at history museums, and the seemingly secondary details—from architectural models to museum stores and accessibility—that profoundly shape the visitor experience.

But words and still photographs can only convey so much. Sometimes you need to see visitors play at a transportation museum, walk through the rooms of a medieval castle, or watch a historic clock come to life. Five short videos offering glimpses of museums and historic sites that particularly interested me. Each YouTube Short lasts less than a minute, but together they illustrate several of the larger questions raised in my earlier posts.

*The automotive pavilion at Verkehrshaus is clad in highway signs.*

A Museum Designed for Movement

The Verkehrshaus, or Swiss Museum of Transport, in Lucerne is one of Switzerland’s largest and most popular museums. Its campus is divided into separate pavilions devoted to trains, automobiles, planes, ships, and space travel.

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Unfurling Patriotism at Yale

Small exhibitions often have the freedom to tackle big ideas, and Unfurling the Flag: Reflections on American Patriotism at Yale University’s Beinecke Rare Book & Manuscript Library does exactly that.

Drawn entirely from the library’s extraordinary collections, the exhibition presents rare books, photographs, manuscripts, posters, and other historical documents in two long display cases. Rather than telling a chronological story, it explores patriotism through a series of themes, including absolutism, inclusion and exclusion, American exceptionalism, and patriotism as ideology. The introductory label reads:

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Were You Expecting to Smell Tito Puente’s Timbales?

One of the pleasures of visiting museums is discovering something you didn’t expect.

When I visited ¡Puro Ritmo!, the exhibition produced by the National Museum of the American Latino in Washington, DC, I expected energetic music, dance, and interactive experiences. Those were certainly there, but one exhibit offered a completely different kind of surprise.

Standing before Tito Puente’s timbales, I assumed the museum might invite visitors to explore rhythm, play cowbells, or watch archival footage of the legendary bandleader. Instead, a small label read: “Places and scents are connected. Push the lever to smell the scent and imagine a night of dancing. What do these smells remind you of?”

Beside it was a small black cylinder. I pressed the lever, and a complex blend of gardenias, leather, and a hint of tobacco drifted upward. For a brief moment, it felt less like standing in a museum and more like walking into a crowded ballroom on a warm evening as Tito Puente’s orchestra prepared to play.

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Clearer Rules, Better Results: An Updated Photography Policy at Bayou Bend

When I examined museum photography policies in my recent post, “Can I Take a Picture?,” I included a sign I photographed at Bayou Bend Collection and Gardens during a November 2024 visit. Jennifer Hammond, Bayou Bend’s Head of Learning and Interpretation, subsequently contacted me to explain that the museum had replaced much of that signage since my visit and that its photography policy has continued to evolve.

The new signs do not appear to have been prompted by my post. Instead, they offer a useful follow-up: museum policies and visitor communications should not be static and permanent.

Bayou Bend’s revised entrance signs are clearer and more welcoming. “Personal photographs are encouraged,” the photography sign begins, before outlining restrictions on commercial shoots, equipment, drones, climbing, and other potentially disruptive activities (I ‘m sure there’s a story behind the policy that visitors must keep their clothes on!). A separate sign prepares visitors for the historic house, explaining limits on group size, bag storage, barriers, fragile objects, and food and drink.

The revised approach has also produced an unexpected benefit. Hammond noted that quinceañera groups have become staff favorites and that the photographs they share have generated more effective publicity for Bayou Bend than some of its paid advertising. The experience suggests that a carefully managed photography policy can support visitation and visibility without turning the museum into an uncontrolled photo venue.

Bayou Bend’s experience suggests that museums should review whether their photography rules address demonstrable risks or simply preserve inherited restrictions. Clear conditions can protect collections, landscapes, and visitors while allowing uses that may also increase the institution’s public visibility.