The National Gallery in London is launching a groundbreaking initiative called NG Citizens, which will place ordinary people from across the United Kingdom at the center of its decision-making process. This autumn, the gallery will form a citizens assembly of 50 participants chosen through a civic lottery system, marking a significant shift toward more democratic participation in one of Britain's most prestigious cultural institutions.
The initiative comes as the National Gallery seeks to secure its position in the UK's cultural landscape for another 200 years, having recently celebrated its bicentenary. Jane Knowles, the gallery's director of public engagement, describes NG Citizens as "a culture-shaping step designed to ensure the gallery remains relevant, inclusive and genuinely reflective of the public we serve." The program builds on the gallery's previous efforts to co-create projects with its target audiences.
Despite strong visitor numbers – with more than 4.7 million people visiting the London gallery and its touring displays last year, representing almost a 10% increase from 2023 – the National Gallery is looking ahead to maintain its relevance. The institution aims to demonstrate that it truly serves as "a national institution at the heart of national life." This aspiration is supported by the creation of a new national learning service designed to share the gallery's collection with the widest possible audience.
The NG Citizens initiative responds to the UK museum sector's broader commitment to access and inclusion, particularly as international support for equality, diversity and inclusion (EDI) work faces erosion. Museums and galleries are addressing these challenges in various ways, from showcasing work by marginalized and often-overlooked communities to amplifying staff voices and experiences, and publicizing accountability strategies.
Several regional institutions have already paved the way for this type of public engagement. In 2024, Nottingham's New Art Exchange launched the Voice Assembly, becoming the first cultural institution to integrate a citizen assembly as part of its permanent leadership structure. The Voice Assembly was specifically tasked with shaping the future of art and culture in a meaningful, citizen-led manner.
Birmingham Museums also provided inspiration through its Citizens Jury project last year. This pioneering initiative invited 30 city residents to engage directly with decision-making processes that would help reshape the future of the museum group's activities. Over six sessions, participants worked together to reimagine how the city's cultural institutions could play a sustainable and meaningful role in public life. All participants agreed that museums should provide educational experiences that improve knowledge and should welcome and inspire people of all ages and backgrounds, rather than serving only an educated elite.
However, the NG Citizens initiative has sparked concerns and criticism from various quarters. UK museums consultant Maurice Davies, while initially praising the scheme, has questioned whether the gallery is actually changing its operational methods or if NG Citizens represents simply "a more sophisticated form of audience research." Critics worry about the extent to which the initiative might affect the content and purpose of the National Gallery's collections and displays.
Evening Standard columnist Melanie McDonagh has been particularly critical, describing NG Citizens as "an awful idea" and questioning whether it undermines the gallery's reputation. McDonagh argues that "the point of the gallery is not to solicit the opinions of an uninformed public." Such concerns reflect broader debates about expertise versus democratic participation in cultural institutions.
In response to these criticisms, the National Gallery has moved quickly to reassure critics that NG Citizens will not be directly involved with artwork selection or exhibition curation. However, it remains unclear why NG Citizens will be consulted on the gallery's future purpose but not involved in curatorial decisions. This distinction raises questions about whether future groups of NG Citizens might eventually reimagine the traditional curatorial model, where experts select works for public display based on connoisseurship and established notions of taste.
The initiative raises questions about whether the National Gallery is playing catch-up with both regional museums and industry research trends. For those engaged with museum and heritage studies, audience engagement and participation represent well-established areas of inquiry. Research groups and institutions across the UK continuously explore collaborative methods and assess how co-production can improve public engagement with cultural institutions.
While significant work remains to ensure that UK museums and galleries offer fair and equal access to all members of society, NG Citizens presents an exciting opportunity to center the public in the National Gallery's approach to future working practices. The gallery's initial aim involves asking NG Citizens to reconsider its role in public life, potentially transforming how this revered institution operates.
By opening this prestigious institution to more democratic modes of thinking and audience collaboration, the National Gallery may be pioneering a new model for major cultural institutions. Perhaps soon, instead of asking visitors what they expect to see when visiting the National Gallery – whether a carefully curated collection of landscape paintings or a selection of must-see highlights representing art history's greatest figures – the more relevant question will be: "What would you like to see at the National Gallery?" This shift could fundamentally change how we think about the purpose and priorities of major cultural institutions in the 21st century.
