
Updated:
Virginia Museum of Fine Arts
Not Inclusive
Behind the Frame
Behind the Frame evaluates 40 of the nation's leading art museums across three areas: their policies, their representation of Jewish art and artists and their partnerships and community engagement. These criteria assess a museum’s record and its current approach to addressing antisemitism. Collections and exhibitions reflect long-lead decisions museums plan five to ten years in advance, while policies and inclusion practices signal how prepared an institution is for the future and the evolving nature of antisemitism. Each museum receives a rating — from Critical Condition to Gold Standard — based on how it measures up.
As the ADL Center on Extremism has documented, extremist activists have facilitated coordinated efforts since October 7, 2023 to push Jewish and Israeli voices out of mainstream cultural spaces, with the impact felt at the staff, curator and visitor levels. Most American museums hold significant collections of Jewish art, but owning the work is not enough. Policies, programming and inclusion commitments must protect and feature Jewish artists, staff and patrons amid rising antisemitism. These criteria assess both a museum’s record and its current approach to addressing antisemitism.

Back
Gold Standard
Good Showing
Work In Progress
Not Inclusive
Critically Deficient

Updated:
Not Inclusive
Not Inclusive
Good Showing
Not Inclusive
The Virginia Museum of Fine Arts (VMFA) in Richmond opened in 1936 as a state-supported art museum serving audiences across Virginia. Its encyclopedic collection spans ancient to contemporary art and is especially known for its Fabergé holdings, American and European art, African art, South Asian art, and decorative arts.
The collection includes Jewish artists and Jewish-subject works, including Chagall, Rothko, Philip Guston, a Judy Chicago Birth Project work, Judaica, and Jewish documentary photography.
Israeli artists including Menashe Kadishman are represented in the collection, though recent exhibition visibility remains limited. VMFA’s provenance work is a major strength: its public program explicitly addresses Nazi-era ownership, documents resolved claims, and includes dedicated staff capacity for provenance research.
VMFA’s visitor policies prohibit harassing and discriminatory behavior, and its rules strongly restrict solicitation, pamphleteering, assemblies, banners, and related activity. Visitors, however, are directed primarily to general contact channels rather than a dedicated reporting mechanism. No public policy was found that explicitly names antisemitism.
VMFA co-presented a screening of Running on Sand with the Weinstein JCC as part of the Israeli and Jewish Film Festival. Beyond this project, partnerships and educational programming remain somewhat limited.
The museum recognizes several other heritage months but has historically not recognized Jewish American Heritage Month.
VMFA has meaningful building blocks: Jewish art, Israeli collection presence, strong provenance work, and clear protest rules. Expanding that partnership into recurring programming, increasing Israeli exhibition visibility, and strengthening reporting and antisemitism protections would turn those pieces into a more sustained approach.
State of the Arts becomes an accessible public home for research, profiles, storytelling, and advocacy that can continue to grow over time.
If you are an artist, writer, performer or member of the arts and culture community who has experienced or witnessed antisemitism, bias or discrimination, please Report an Incident to ADL. If you are seeking legal support, you can also submit a request to ADL’s Legal Action Network.