Celebrate Love in All Its Forms at the Cleveland Museum of Art
- Press Release
Contact the Museum's Media Relations Team:
(216) 707-2261
marketingandcommunications@clevelandart.org
Curate Your Date Night with Special Exhibitions, Live Music, Dinner, and Speed Dating Tonight!, a One-Act Opera Featuring Love-Inspired Events
Cleveland (February 10, 2025)—Experience beautiful artwork and musical performances, take a love-inspired tour, share a special meal, or laugh at a comic opera exploring the emotional roller coaster of dating, all at the Cleveland Museum of Art (CMA). Visitors are encouraged to bring their significant other, family, and friends to free events planned throughout the month.
While you’re here, check out our newest exhibitions, Kelli Connell: Pictures for Charis,which juxtaposes love and the landscape in the 1930s and 2020s, Shahzia Sikander: Collective Behavior,opening Friday, February 14, 2025, presenting the most comprehensive presentation of the artist’s work to date, and Picasso and Paper, which documents Picasso’s endless fascination with paper.
Visiting Ohio City soon? Be sure to check out Love as Resistance opening February 14, 2025, at Transformer Station.
Special Events at the CMA
Performing Arts Events
- Chamber Music in the Atrium: Love is in the Air, Friday, February 14, 2025, 6:00–7:00 p.m.
- Baldwin Wallace Conservatory Opera Presents Speed Dating Tonight, Friday, February 14, 2025, 7:00–8:30 p.m.; Saturday, February 15, 2025, 3:00–4:30 p.m. and 7:00–8:30 p.m.; Sunday, February 16, 2025, 3:00–4:30 p.m.
- Date-Night Performances: Tasting Notes, Fridays, February 14, 21, 28, 2025, 7:00–9:00 p.m.
Love-inspired Offerings
Unable to make it out this year? Visit the CMA’s award-winning Open Access program. Celebrating its fourth anniversary, Open Access gives the public the ability to share, collaborate, remix, and reuse images of public-domain artworks from the CMA’s world-renowned collection—all without asking permission.
The CMA is open Tuesday, Thursday, Saturday and Sunday, 10:00 a.m. to 5:00 p.m., and Wednesday and Friday, 10:00 a.m. to 9:00 p.m. The CMA is closed on Mondays.
Love Is Resistance
Friday, February 14 through Sunday, April 6, 2025
Free; No Ticket Required
The CMA’s 2025 Transformer Station Exhibition schedule begins with Love Is Resistance, an exhibition organized by the Cleveland Institute of Art and showcasing works created by CIA students, faculty, and alumni. Curated by CIA faculty and Reinberger Gallery staff, the exhibition features artists’ responses to artworks from the CMA’s collection that engage with the concept of resistance from an art historical perspective.
Opening on February 14, 2025, in celebration of Valentine’s Day, Love Is Resistance is an art exhibition and performance event that explores the concept of love as a radical act—one that centers passion, care, knowledge, and community as creative tools to challenge oppressive systems rooted in hate, fear, division, and unjust ideologies. Love Is Resistance calls for building a better world by understanding past histories and approaching one another with persistent care in the face of uncertain futures.
Opening Night
A special opening night for Love Is Resistance is planned.
Community Welcome
February 14, 4:00–6:00 p.m.
Free
We invite artists, family, friends, and community members to come see Love is Resistance firsthand. No reservations are required.
Beginning at 7:00 p.m., live musical performances by regional artists will amplify the exhibition’s themes.
Musical Performances
February 14, 7:00 p.m.
Free; Reservations Required
Limited space is available for these free performances and reservations are required.
Opening night performances include:
- Minority Threat (Columbus)
- Kill the Hippies (Cleveland)
- Ritual Sin (Cleveland)
- Private Prisons (Cleveland)
- John Wiese (Los Angeles/Cleveland)
“The Cleveland Institute of Art and the Cleveland Museum of Art share a proud history of collaboration, and Love Is Resistance demonstrates how our partnership continues to grow and flourish within a contemporary context,” said CIA President and CEO Kathryn J. Heidemann. “By activating Transformer Station’s galleries with compelling artwork created by CIA students, alumni, and faculty, both our college and the museum will reach new audiences—thus expanding access, reach, and relevance to a broader community.”
Museum Gifts
Share your love of art by purchasing a CMA membership for someone special. Recipients can take advantage of special discounts and free exhibition tickets. Shop online to choose the perfect level for your loved one.
This Valentine’s Day, CMA members receive a special renewal promotion. Receive 14 months for the price of 12 when you renew by Friday 14, using promo code HEART.
Artful Treats
Provenance Café
Enjoy something sweet for you and your sweetie. Members receive a 10 percent discount.
Performing Arts Events
Chamber Music in the Atrium: Love is in the Air
Friday, February 14, 2025, 6:00–7:00 p.m.
Ames Family Atrium
The museum’s popular Chamber Music in the Atrium concert series continues with a special Valentine's Day edition.
This evening’s program, titled “Love Is in the Air,” features musicians from Musical Upcoming Stars in the Classics along with students and graduates of the Cleveland Institute of Music. Join us as they perform chamber music in celebration of love, including romantic waltzes, songs, and sonatas, with a selection showcasing dancers from Ohio Contemporary Ballet.
The views expressed by performers during this event are their own and do not necessarily reflect the opinions of the Cleveland Museum of Art.
Baldwin Wallace Conservatory Opera Presents Speed Dating Tonight!
Friday, February 14, 2025, 7:00–8:30 p.m.; Saturday, February 15, 2025, 3:00–4:30 p.m. and 7:00–8:30 p.m.; Sunday, February 16, 2025, 3:00–4:30 p.m. and 7:00 p.m.
Gartner Auditorium, Suzanne and Paul Westlake Performing Arts Center
The award-winning Baldwin Wallace Conservatory Opera and the Cleveland Museum of Art present the Cleveland premiere of composer Michael Ching’s hilarious one-act opera, Speed Dating Tonight!
Perfect for Valentine’s Day weekend, this comic opera in English explores the emotional roller coaster of finding that special someone. Excitement is in the air as Kaylee, the speed dating coordinator, and Joe, the bartender, prepare for the arrival of speed daters in search of their perfect match. The opera is made up of a series of five-minute “dates” that give us a glimpse into the lives, loves, passions, quirks, and fantasies of the colorful cast of characters. Each time Kaylee rings the bell, the daters switch tables for a new round of discovery in hopes of making a special connection. Ching’s tuneful original score features some parodies of famous operatic melodies, and, as a special treat, this all-new production includes two “dates” composed by Ching especially for the Cleveland premiere.
Be sure to purchase tickets to your desired showtime. Performances take place at the following times:
Friday, February 14, 7:00 p.m.
Saturday, February 15, 3:00 and 7:00 p.m.
Sunday, February 16, 3:00 and 7:00 p.m.
The views expressed by performers during this event are their own and do not necessarily reflect the opinions of the Cleveland Museum of Art.
Date-Night Performances: Tasting Notes
Fridays, February 14, 21, 28, 2025, 7:00–9:00 p.m.
Provenance
Free; Reservation Encouraged
Join us in Provenance Restaurant for Tasting Notes to immerse yourself in food, cocktails, and music in a supper club environment. Tasting Notes invites guests to indulge in Provenance’s curated Taste the Art menu, a collaboration between Chef Doug Katz and Bon Appétit, while enjoying a live jazz duo performing from 7:00 to 9:00 p.m.
While these events are free and open to the public, reservations are strongly encouraged and can be made on Provenance’s website.
The entertainment schedule for the series is as follows:
Feb. 14: Dan Bruce Duo
Feb. 21: Kevin Martinez and Theron Brown
Feb. 28: Garrett Folger Duo
Tasting Notes is part of the Cleveland Museum of Art’s Date-Night offerings.
Love-inspired Offerings
Weekly on Fridays, 6:15–7:15 p.m. through April 25, 2025
Ames Family Atrium
Explore the evolving world of romance with Dating Through the Ages, a unique tour tracing the art of courtship across centuries. From the elegance of ancient Greek vases capturing subtle flirtations to medieval carvings telling tales of chivalric love, this tour offers a glimpse into how courtship rituals have shifted over time. Experience the allure of Rococo paintings where opulent attire and coded gestures hinted at romantic intentions, and learn the dating dynamics of Victorian England. Each piece tells a story of love and desire, offering a cultural journey through the art of attraction across civilizations and eras.
The museum also offers Daily Guided Tours and Art and Conversation Tours. To schedule private tours for adult groups of 10 or more, please contact grouptours@clevelandart.org or call 216-707-2752.
Self-Guided Collection Tour
Art Lens
First Date
Tuesdays, Thursdays, Saturdays, Sundays, 10:00 a.m.–5:00 p.m, Wednesdays and Fridays, 10:00 a.m.–9:00 p.m
Free
ArtLens Gallery
Dive into the CMA’s collection with works chosen to inspire conversation and provoke getting-to-know-you questions.
ArtLens Gallery is a multifaceted, innovative experience that allows you, your family, and your friends to look closer, dive deeper, and have fun discovering the museum’s collection using award-winning digital technology. Create your own digital artwork in ArtLens Studio, engage with masterworks of art and touchscreen-free interactives in ArtLens Exhibition, and connect with the museum’s world-renowned collection at ArtLens Wall.
Use ArtLens App to save the artworks you learn about and photos you take during your experience and then map your visit throughout the museum using the app’s responsive wayfinding technology. The primary goal of ArtLens Gallery is to use innovative technology to provide visitors the tool sets to look closer, dive deeper, and feel comfortable exploring every gallery in the museum.
Ongoing Exhibitions
Kelli Connell: Pictures for Charis
Through Sunday, May 25, 2025
Mark Schwartz and Bettina Katz Photography Galleries | Gallery 230
Free; No Ticket Required
In Pictures for Charis, American photographer Kelli Connell reconsiders the relationship between writer Charis (pronounced CARE-iss) Wilson and photographer Edward Weston through a close examination of Wilson’s prose and Weston’s iconic photographs of the Western landscape and the female nude.
Connell weaves together the stories of Wilson and Weston with that of her own relationship with her partner at the time, Betsy Odom, enriching our understanding of the couple from her contemporary queer and feminist perspective. Using Weston and Wilson publications as a guide, Connell and Odom created portrait and landscape photographs at sites where Wilson and Weston lived, made art, and spent time together.
This exhibition juxtaposes Connell’s photographs with classic figure studies and landscapes by Weston from 1934–45, one of his most productive periods and the span of his relationship with Wilson.
The monograph Kelli Connell: Pictures for Charis (2024) is copublished by Aperture and the Center for Creative Photography; it brings together Connell’s text, portraits of Odom, new landscape views, and original materials by both Wilson and Weston.
The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.
This exhibition was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
Picasso and Paper
Through Sunday, March 23, 2025
The Kelvin and Eleanor Smith Foundation Exhibition Hall and Gallery
Pablo Picasso’s prolonged engagement with paper is the subject of the groundbreaking exhibition Picasso and Paper, organized by the Cleveland Museum of Art and the Royal Academy of Arts, London, in partnership with the Musée national Picasso-Paris.
Showcasing nearly 300 works spanning the artist’s career, the exhibition highlights Picasso’s relentless exploration of paper. His appreciation of and experimentation with the material is revealed in the works ranging from collages of cut-and-pasted papers to sculptures from pieces of torn and burnt paper, manipulated photographs, drawings in virtually all available media, and prints in an array of techniques.
The exhibition’s highlights include Femmes à leur toilette (1937–38), an extraordinarily large collage (9 13/16 x 14 1/2 feet) of cut-and-pasted papers, exhibited for the first time in the United States; outstanding Cubist papiers collés; artist’s sketchbooks, including studies for his best known paintings, including Les Demoiselles d’Avignon; constructed paper guitars from the Cubist and Surrealist periods; and an array of works related to major paintings and sculptural projects.
The exhibition presents these works on paper chronologically alongside a limited number of closely related paintings and sculptures. For example, the Cleveland Museum of Art’s La Vie (1903), from Picasso’s Blue Period, is featured with preparatory drawings and other works on paper exploring corresponding themes. In the Cubist section, Picasso’s bronze Head of a Woman (Fernande) (1909) (Musée national Picasso-Paris) is surrounded by a large group of associated drawings. Seen together, these groupings highlight the connections that Picasso saw between media and the integral role that paper played throughout his artistic practice.
Picasso and Paper is accompanied by a fully illustrated catalogue published by the Royal Academy of Arts. It features essays by distinguished Picasso scholars and leading authorities in various aspects of technical art history, including William H. Robinson, formerly of the Cleveland Museum of Art; Ann Dumas of the Royal Academy of Arts; Emilia Philippot of the Musée national Picasso-Paris; and Claustre Rafart Planas of the Museu Picasso, Barcelona. Specific aspects of Picasso’s engagement with paper are addressed by Christopher Lloyd, an expert on Picasso’s drawings; Stephen Coppel, curator of prints and drawings at the British Museum; Violette Andres, photography curator at the Musée national Picasso-Paris; Johan Popelard, Head of the Conservation and Collections Department at the Musée national Picasso-Paris; and Emmanuelle Hincelin, a paper conservator with scientific expertise in the types of paper Picasso used at key moments in his career.
This exhibition is organized by the Cleveland Museum of Art and the Royal Academy of Arts, London, in partnership with the Musée national Picasso-Paris.
This exhibition is presented by CIBC.
Major support is provided by the Malcolm E. Kenney Curatorial Research Fund and Anne H. Weil. Generous support is provided by Martin Kline and the Carol Yellig Family Fund. Additional support is provided by Carl M. Jenks, Frank and Fran Porter, and Robert G. Simon.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
The Dancing Brush: Ming Dynasty Calligraphers and Eccentrics
Through Sunday, March 2, 2025
Clara T. Rankin Chinese Art Galleries | Gallery 240A
Free; No Ticket Required
Calligraphy, poetry, and painting are considered the high arts of China. By the Ming dynasty (1368–1644), calligraphers used the term qi (eccentric or strange) to describe novel approaches to their writings, expressing more artistic freedom, sentiment, and personality in their individual styles. This exhibition presents about a dozen works of calligraphy from the collections of the museum and a private collector, some on display for the first time.
Imagination in the Age of Reason
Through Sunday, March 2, 2025
James and Hanna Bartlett Prints and Drawings Galleries | Galleries 101A–B
Free; No Ticket Required
Although the Enlightenment period in Europe (about 1685–1815) has long been celebrated as “the age of reason,” it was also a time of imagination when artists across Europe incorporated elements of fantasy and folly into their work in creative new ways. Imagination in the Age of Reason, pulled from the CMA’s rich holdings of 18th-century European prints and drawings, explores the complex relationship between imagination and the Enlightenment’s ideals of truth and knowledge. During this unprecedented time, artists used their imaginations in multifaceted ways to depict, understand, and critique the world around them.
The Enlightenment adopted a revolutionary emphasis on individual liberty, direct observation, and rational thought. Enlightenment society valued learning and innovation, encouraging an unprecedented flowering of knowledge with major advances in fields as diverse as art, philosophy, politics, and science. Important thinkers of the time questioned long-held beliefs, instead using scientific reasoning to uncover new, objective principles on which to base a modern society, free from superstition, passion, and prejudice.
During this same period, a number of artists reveled in the power of the imagination to expose hidden truths, conjure strange worlds, or concoct illusions. François Boucher and Francisco de Goya, among others, drew on their imaginations to devise novel compositions, envision far-off places and people, attract new buyers for their art, and comment on society and its values. They also blurred the boundaries of fact and fantasy, incorporating real and invented elements into their compositions, often without distinguishing between the two. Imagination was a dynamic tool through which Enlightenment-era artists marketed their work, revealed or obscured truth, entertained or educated viewers, and supported or criticized systems of power.
The exhibition presents an exceptional opportunity to see exciting recent acquisitions on view for the first time as well as rarely shown collection highlights, including prints and drawings by Canaletto and Goya and a pastel portrait by Swiss artist Jean-Étienne Liotard.
This exhibition is made possible with support from the Baker-Nord Center for the Humanities, Case Western Reserve University.
Temples and Worship in South Asia
Through Sunday, March 9, 2025
Gallery 242B
Free; No Ticket Required
Six paintings and 13 photographs illuminate contrasting approaches of depicting sacred Hindu sites. Indian artists, who created paintings for Indian viewers, emphasized the devotee’s intimate interaction with the divinity. Conspicuous are the offerings intended to please the living deity believed to reside in an object of worship, either in human or nonhuman form.
When early British photographers documented Hindu temples in the mid-1800s, they focused on creating a visual record of impressive premodern architectural achievements, avoiding traces of devotional activity. Contemporary photographers, on the other hand, emphasized the bustling interiors in scenes that evoke an overwhelming multisensory experience. The colonial and contemporary photographs invite reflection on how non-Indians interacted with Hindu temples and projected their images to non-Indian audiences.
Pattern and Decoration in Royal Art of the Joseon Dynasty
Through Sunday, March 30, 2025
Korea Foundation Gallery | Gallery 236
Free; No Ticket Required
Pattern and Decoration in Royal Art of the Joseon Dynasty presents a selection of painted screens and porcelain ware that uses decorative motifs and designs as the main subjects. Dragons, peonies, books, and scholarly accoutrements are among the most popular subjects that developed into decorative patterns in response to social and cultural changes during the 1700s and 1800s. By highlighting patterns and colors, this thematic presentation explores how Korean art vividly originated and offered powerful codes of communication, for example, peonies that symbolized prosperity and the mythical dragon that had the power to make rain.
Rose B. Simpson: Strata
Through Sunday, April 13, 2025
Ames Family Atrium
Free; No Ticket Required
Rose B. Simpson (b. 1983) envisioned a site-specific project for the Cleveland Museum of Art’s Ames Family Atrium titled Strata. Simpson’s installation was commissioned specifically for the expansive, light-filled space. According to the artist, Strata is inspired by time spent in Cleveland, “the architecture of the museum, the possibility of the space, tumbled stones from the shores of Lake Erie,” as well as her own Indigenous heritage and the landscape of her ancestral homelands of Santa Clara Pueblo, New Mexico, where she was born and raised and where she lives and works.
Strata comprises two monumental figural sculptures constructed from the artist’s signature clay medium, in addition to metalwork, porous concrete, and cast bronze. The figures’ layers mimic rock eroded through geologic time and the structural materiality of man-made architecture. Intricate welded metal structures mounted to the heads of each figure, intended to cast shadows, mimic the structures of the mind in relationship to time and space.
Simpson’s identity as a Native woman has greatly impacted her work. She is from a long line of women working in the ceramic tradition of her Kha’po Owingeh (Santa Clara Pueblo) tribe dating back to the 500s CE. Her large-scale sculptures represent a bold intervention in colonial legacies of dependency, erasure, and assimilation, and balance her tribe’s inherited ceramic tradition with modern methods, materials, and processes. Her work asserts a pride of place and belonging on land where Native residents have been forcefully dispossessed of their territories and cultures.
Simpson has had solo exhibitions at the Whitney Museum of American Art, ICA Boston, the Wheelwright Museum, and the Nevada Art Museum, and is represented in museum collections including the Cleveland Museum of Art, Denver Art Museum, Museum of Contemporary Art Chicago, Museum of Fine Arts Boston, Princeton University Art Museum, and San Francisco Museum of Modern Art, among others. She is the recipient of several prestigious awards, including a Joan Mitchell Foundation Fellowship and a Women’s Caucus for Art President’s Award for Art & Activism and was recently appointed by President Biden to the Institute of American Indian Arts Board of Trustees.
The CMA’s presentation of Rose B. Simpson: Strata includes a richly illustrated catalogue with contributions by Nadiah Rivera Fellah, the CMA’s associate curator of contemporary art; Anya Montiel, curator at the Smithsonian’s National Museum of the American Indian; Karen Patterson, executive director at the Ruth Foundation; Natalie Diaz (Mojave / Akimel O’odham), Maxine and Jonathan Marshall Chair in Modern and Contemporary Poetry at Arizona State University; and artists Rose B. Simpson and Dyani White Hawk (Sicangu Lakota).
Major support is provided by the National Endowment for the Arts and the Womens Council of the Cleveland Museum of Art.
Contemporary Calligraphy and Clay
Through Sunday, June 15, 2025
Kelvin and Eleanor Smith Foundation Japanese Art Galleries | Gallery 235A
Free; No Ticket Required
Calligraphy and ceramics are two major art forms in Japanese culture. They have historically been appreciated together, often paired in spaces called tokonoma, or simply toko, a term that can be translated as “display alcove.” For centuries, people have hung calligraphy or paintings on the wall of a toko and placed ceramics, lacquers, or metalworks on the deck to create a particular mood for an occasion. Traditional reception rooms, living rooms, guest rooms, and teahouses, places where people hold small, significant gatherings, often feature toko. While toko are less common in newer architectural structures due to various factors, including limited space and a shift away from floor culture, today’s artists continue to create with them in mind but also increasingly envision new environments for their works. This installation considers the bond of calligraphy and clay through contemporary artworks set in the modern space of the museum gallery.
Creation, Birth, and Rebirth
Through Sunday, July 27, 2025
Gallery 115
Free; No Ticket Required
The exhibition explores some of the fundamental moments in the sacred narratives of the medieval world: the creation of the universe, the birth of its gods and its humans, and visions of the end of life conceived as a new beginning. The exhibition asks a series of questions: How was the creation of the world imagined in different religions? How were the creators of that world visualized in several religious cultures? How were ideas about conception, incarnation, and birth depicted in the objects created by these cultures? How did they perceive the difference between birth and creation, and the connections between death and rebirth? What parallels were drawn between miraculous and everyday births? How did religious teachings on reincarnation and resurrection manifest in medieval material culture? What, more broadly, was the role of images in making sense of the universe?
The objects in the exhibition span from the 800s to the 1500s, drawn from several collections in the Cleveland Museum of Art, including medieval art, Chinese art, Indian and Southeast Asian art, art of the Americas, and prints and drawings, offering possibilities of forging connections across cultures and geographies.
The exhibition is a culmination of several years of collaboration between the medieval art program at Case Western Reserve University and the Cleveland Museum of Art, made possible by the support of the Mellon Foundation.
From the Earth through Her Hands: African Ceramics
Through Sunday, September 21, 2025
Gallery 108A
Free; No Ticket Required
African women have worked in ceramics for millennia, yet their accomplishments are underexhibited compared to male artists who sculpted in wood. This rotation considers key western, central, and eastern African ceramics spanning the first through 20th centuries. Three themes highlight their makers’ technical and aesthetic accomplishments: inspiration and instructors; idealized portraits; and practical beauty. The intimate presentation illuminates the deeply historical practice of African women working in ceramics and considers connections between functional and display (“fine art” ceramics). It highlights the technical, training, and aesthetic links among 20th-century female African artists working in ceramics. One of the 10 works is newly acquired (a mid-20th-century bowl by renowned Nigerian ceramicist Ladi Kwali OON MBE), while others have not recently been on view or are being exhibited for the first time.
Reinstallation of Krishna Lifting Mount Govardhan
Through Sunday, October 12, 2025
Gallery 243 | Nancy F. and Joseph P. Keithley Gallery | Gallery 244
Free; No Ticket Required
The monumental sculpture of Krishna Lifting Mount Govardhan returns to the permanent collection galleries for the first time since its new reconstruction was completed in 2021. To complement this major addition, 13 stone and bronze works from India, Cambodia, and Indonesia are also brought out for display.
Arts of the Maghreb: North African Textiles and Jewelry
Through Sunday, October 12, 2025
Arlene M. and Arthur S. Holden Gallery | Gallery 234
Free; No Ticket Required
This exhibition spotlights the rich artistic traditions of Morocco, Algeria, and Tunisia during the late 1800s and the early 1900s, through a display of elaborate textiles and fine jewelry in the collection of the Cleveland Museum of Art. These works introduce the specialized skills of North African artists, both Amazigh (Berber) and Arab, Muslim and Jewish, and the diverse aesthetics of their multifaceted communities. The CMA’s founder J. H. Wade II began forming the collection during his personal travels across the region, and many works are on view for the very first time.
This exhibition is made possible with support from the Malcolm E. Kenney Curatorial Research Fund and Anne T. and Donald F. Palmer.
Native North American Textiles and Works on Paper
Through Sunday, December 14, 2025
Sarah P. and William R. Robertson Gallery | 231 Native North American
Free; No Ticket Required
Newly on display from the permanent collection are two Diné (Navajo) textiles from the late 1800s, as well as a watercolor from the 1930s made by Oqwa Pi, a member of the San Ildefonso Pueblo.
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About the Cleveland Museum of Art
The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The museum is a significant international forum for exhibitions, scholarship, and performing arts and is a leader in digital innovations. One of the top comprehensive art museums in the nation, recognized for its award-winning open access program and free of charge to all, the Cleveland Museum of Art is located in the University Circle neighborhood.
The museum is supported in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture and made possible in part by the Ohio Arts Council (OAC), which receives support from the State of Ohio and the National Endowment for the Arts. The OAC is a state agency that funds and supports quality arts experiences to strengthen Ohio communities culturally, educationally, and economically. For more information about the museum and its holdings, programs, and events, call 888-CMA-0033 or visit cma.org.