The short version
- The exhibition of RM’s private art collection at SFMOMA has sold over 66,000 tickets, with advance sales six times higher than any prior museum show.
- SFMOMA had previously reduced its workforce by 7.5 percent due to a $5 million deficit and lower post-pandemic attendance figures.
- Curators and museum officials note the intense fan engagement is unprecedented, raising questions about whether celebrity-driven exhibitions can become a sustainable model for struggling institutions.
The San Francisco Museum of Modern Art has experienced a dramatic reversal in its recent fortunes following the opening of an exhibition curated by Kim Namjoon, better known as RM of the global pop group BTS. The show, titled 'RM x SFMOMA: Between You and Me,' features 142 works from his private collection alongside 36 pieces from the museum’s own holdings. Since its launch earlier this month, the exhibition has generated significant financial momentum for an institution that was grappling with severe budgetary constraints just a year ago.
The scale of public interest has exceeded internal projections by a wide margin. Advance ticket sales reached levels six times higher than any previous exhibition in the museum’s history, with more than 66,000 tickets sold to date. The commercial impact extended beyond admissions; merchandise available at the museum store and online platform sold out within three hours of release. Store director Shane Salvata described the phenomenon as unlike anything the institution had previously encountered, suggesting it may be a singular event in the museum’s operational history.
This surge in revenue arrives at a critical juncture for SFMOMA. Last year, the museum faced a $5 million deficit compounded by lingering pandemic effects, reduced tourism, and funding challenges under the current administration. In response to these pressures, leadership made the difficult decision to lay off 7.5 percent of its workforce. New director Christopher Bedford had previously indicated that the museum needed to adjust its programming and budget to accommodate a 'reduced annual attendance normal' estimated at 600,000 visitors. The RM exhibition has clearly disrupted those conservative expectations.
The exhibition itself is a substantial curatorial undertaking rather than a simple celebrity showcase. Co-curated by América Castillo and Hyoeun Kim, the display includes paintings, calligraphy, sculpture, and even a Pokémon animation cel. RM, who served in the South Korean military when he first received the invitation from curator América Castillo two years ago, has long been an advocate for modern Korean art. His collection reflects deep scholarly interest, earning him the nickname 'bakhsa,' or professor, among gallery owners and dealers in South Korea due to his extensive knowledge of the field.
The curation blends academic rigor with personal intuition. Some rooms follow a scholarly arc, while others are titled with casual phrases like 'I Don’t Know, But I Like It.' RM contributed text for placards that mix historical context with diaristic reflections, breaking from traditional museum conventions. For instance, accompanying a painting of the 1980 Gwangju uprising by Lee Ungno, RM wrote about the figures appearing to dance rather than fall, offering a personal interpretation of the historical trauma depicted.
The presence of BTS fans, known as Army, has created an atmosphere distinct from typical museum visits. Hundreds of supporters lined up outside the entrance on opening day, some traveling internationally for the event. Fans distributed gifts such as custom bookmarks and cake pops to journalists covering the exhibition. This intense dedication suggests that the success may be tied specifically to RM’s global fanbase rather than a general increase in art appreciation, making it difficult to predict if this model can be replicated with other figures.
Museum officials are already considering the broader implications of this success. The show raises questions about whether institutions should pursue more celebrity-driven exhibitions to stabilize finances. Recent years have seen similar ventures, including a major exhibition at the Brooklyn Museum featuring the private collection of Swizz Beatz and Alicia Keys, as well as shows focusing on art by musicians like Jack White and Paul McCartney. However, the depth of engagement seen in San Francisco appears unique.
For curator América Castillo, the value of the exhibition extends beyond ticket sales. She noted that witnessing visitors cry in front of artworks was an unexpected and beautiful surprise. The show remains on view at SFMOMA until February 7, 2027, providing a sustained period for the museum to benefit from the increased traffic. Whether this marks a new direction for modern art institutions or remains an anomaly dependent on rare pop culture convergence remains to be seen.
The intersection of high art and mass popularity has proven financially potent in this instance. While the museum still faces long-term structural challenges regarding attendance norms and funding, the immediate boost from the RM exhibition offers a reprieve. The case study may influence how other struggling museums approach programming, balancing artistic integrity with the undeniable draw of global celebrity status.
As the exhibition continues to attract visitors, the museum will likely monitor both financial metrics and visitor demographics closely. The success demonstrates that personal collections curated by cultural icons can resonate deeply with audiences, even when they include complex historical works. For SFMOMA, this period represents a crucial opportunity to stabilize operations while navigating an uncertain landscape for cultural institutions.
Sources behind this briefing
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- The Guardian US↗‘Unlike anything we’ve experienced’: fans swarm San Francisco for BTS star’s art exhibition
