The National Gallery is facing accusations of potentially creating "bad blood" with the Tate after announcing its decision to abandon a long-standing agreement that prevented it from collecting artworks created after 1900. Senior sources warn that this move could reignite old rivalries and put the two prestigious institutions "at each other's throats" as they compete for the same modern masterpieces.
The policy change comes as part of Project Domani, an ambitious initiative that will see the 200-year-old National Gallery receive $375 million in investment for a new wing designed to "usher in a new tomorrow." While Tate director Maria Balshaw officially welcomed the announcement and pledged close cooperation between the galleries, behind-the-scenes tensions are reportedly brewing over what some view as a direct threat to Tate's mission.
"Hats off to [the National Gallery] for getting the money; that type of competition is good," said one source familiar with the situation. "But we have to ensure we do the right thing for the national collection and not something really stupid that'll have national galleries at each other's throats because that's crazy." The source emphasized the financial realities facing both institutions, noting that while $400 million sounds substantial, "one Rothko is $150 million: if you want a Basquiat, it's over $100 million."
Another source associated with the Tate expressed stronger concerns, warning that "if the National Gallery collects, there will be competition for acquisition and much bad blood, as in the 1970s." However, not everyone at Tate opposes the change. A senior figure who requested anonymity told reporters that the National Gallery's position is "perfectly understandable," explaining that "they can't really just stop right at a certain point as we get further away [from 1900], it starts to become more and more arbitrary."
The tension between these two major cultural institutions has deep historical roots spanning several decades. The rivalry was primarily fueled by disputes over who should be allowed to collect modern art, with both galleries previously competing for the same works. The Tate successfully argued that the National Gallery's collection should have a cutoff point at 1900, a position that was formalized in an official agreement signed in 1996.
However, this arbitrary boundary has never sat well with National Gallery leadership at Trafalgar Square. Successive directors have argued that the 1900 cutoff creates awkward limitations, preventing them from presenting a complete narrative of art history. For example, they can display everything that inspired Cubism but cannot show any actual Cubist works due to the date restriction.
When Gabriele Finaldi became director of the National Gallery in 2016, he openly expressed his frustration with the 20th-century barrier, describing it as "slightly frustrating to reach 1900 and then not go on." On Tuesday, Finaldi defended the policy change as necessary, arguing that "as 1900 gets further and further away it will be natural for us to tell the bigger story." When questioned about potential conflict between the institutions, he emphasized their shared responsibility, telling the BBC: "We share the responsibility for a very, very large and significant part of the nation's art. And it's natural for us to work together."
The current division of collections has been clearly defined since 2009, when a renewed agreement between Tate and the National Gallery reinforced the 1900 barrier after the initial 1996 deal expired. Under this arrangement, Tate Modern serves as the destination for international art from 1900 onwards, the National Gallery houses international art up to 1900, and Tate Britain holds British art from 1500 to the present day.
Despite these formal agreements, the boundaries have not always been strictly observed. The National Gallery already possesses more than 40 works created after 1900, including paintings by Pablo Picasso and Paul Cézanne. The collection also features a Richard Long piece from 2025 in the Sainsbury Wing, and in 2023, the gallery staged an exhibition of works by Paula Rego. Previous attempts at modernization have faced criticism, such as in 2005 when the gallery was accused of "selling out" for installing Chris Ofili as artist in residence, nearly a decade after he won the Turner Prize.
The policy change raises practical questions about the future placement of significant 20th-century works. A senior Tate figure illustrated the dilemma using David Hockney as an example: "Do we want David Hockney to leave his works to Tate for use there and across the country or to the National Gallery?" Another source emphasized the need for clarity, stating, "We must have an agreement for donors and artists about where they leave their work. Otherwise, it's just going to be a complete shambles."
Despite the underlying tensions, both institutions are publicly committed to collaboration. In a joint statement, Tate director Balshaw and National Gallery director Finaldi announced the establishment of a joint working group, saying they "look forward to fleshing out the details of our new collaboration over the coming months." They expressed optimism about the partnership's potential, stating: "Speaking on behalf of both institutions, we see enormous potential in building this close collaborative relationship, which will undoubtedly be of great benefit to the art-loving public."
