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Gold Standard

Good Showing

Work In Progress

Not Inclusive

Critically Deficient

The Contemporary Austin logo

Updated:

The Contemporary Austin

Critically Deficient

Critically Deficient

Policies

Critically Deficient

  • Accessible Reporting Mechanism
  • Anti-Discrimination / Harassment Training
  • Prohibits Antisemitism
  • Protest & Solicitation Policy Inside the Galleries

Representation in Exhibitions, Collections & ProvenanceArt & Artists

Work In Progress

  • Jewish Artist Representation
  • Israeli Artist Representation
  • Provenance Disclosure

Partnerships and Community Engagement

Not Inclusive

  • Jewish Institution Partnerships
  • Jewish Educational Programming
  • Jewish American Heritage Month Recognition
  • 0 / None
  • 1-49 / Subpar
  • 50-99 / Satisfactory
  • 100 / Excellent

The Contemporary Austin profile

Introduction

The Contemporary Austin is Austin’s museum dedicated to contemporary art, operating across two distinct sites: the Jones Center downtown and Laguna Gloria, a lakeside campus with an art school and sculpture park. Its program centers on living artists, exhibitions, commissions, public art, and contemporary art education.

Art and Artists

Jewish representation is present in the collection and program, though the research identified minimal Jewish exhibition presence during the scoring window.

Israeli representation is more concrete. In 2016, the museum commissioned Ronen Sharabani’s Matchbox, a site-specific video installation created for The Contemporary Austin. The museum explicitly identified Sharabani as Israeli, and the project included institutional support tied to his Israeli background.

Policies

The museum provides accessibility and visitor contacts but no dedicated public pathway for reporting bias or discrimination. No public policy was found that explicitly prohibits antisemitism, and no sufficiently clear protest and solicitation policy was identified.

Community Engagement and Programming

The museum has an institutional connection with the Contemporary Jewish Museum. It also hosted a Texas Book Festival conversation with Rebecca Clarren about her Jewish ancestors and the history of land in South Dakota, providing a substantive one-off Jewish-focused program. Overall, engagements with the Jewish community and Jewish educational programming have been minimal.

The Contemporary Austin does not generally recognize heritage months, so Jewish American Heritage Month is not separately scored.

Bottom Line

The Contemporary Austin’s positive examples are isolated rather than sustained. Jewish exhibition presence and community engagement remain minimal, while the museum lacks a dedicated bias-reporting mechanism, explicit antisemitism protections and clear protest and solicitation policies. These gaps leave its overall approach fragmented and insufficient.