When Edward Drummond and Florence Scott Libbey helped found the Toledo Museum of Art (TMA) more than a century ago, they envisioned a place where art could enrich lives for generations to come. Today, 113 years later, TMA is honoring that vision with one of its most ambitious undertakings in decades: a comprehensive reinstallation of the galleries.
This is the first full reinstallation in more than 40 years. When complete in 2027, the new galleries will guide visitors through a chronological journey of art history, presenting a richer, more inclusive narrative that reflects the breadth of human creativity.
The Memory of the Past
TMA’s Archivist and Manager of Library and Archive Services, Julie McMaster, described Edward Drummond Libbey as an everyday man. The son of William Libbey, owner of the New England Glass Company, he once dreamed of becoming a priest. When a throat infection left him unable to project his voice, his path shifted, and he joined his father’s business. “He worked for his father as the kid who swept floors and did everything you do when you’re first learning the business,” McMaster said.
“He worked his way up in management, and when his father died in 1883, he took over the company.”
Innovations in glassmaking quickly made Libbey’s business thrive, and he looked to move his New England company to the Midwest for lower costs and better opportunities. He ultimately settled in Toledo for a personal reason.
“What brought him to Toledo is Florence Scott,” McMaster explained. “She was the unmarried daughter of a very wealthy man—everyone courted her, but she always turned down potential suitors. But when Libbey asked her to marry him, she said yes.”
The idea of an art museum arose from a local Tile Club meeting, where Toledo’s civic leaders pitched the concept to the Libbeys. Inspired, they helped incorporate the Museum in 1901. Through the energy of early Museum directors like George Stevens, TMA quickly grew.
“Stevens began to put up exhibition after exhibition, once a month, one after another,” McMaster said. “The Museum began to offer adult and children’s education, launched a women’s business club, and provided tours. They did anything they could to get people to visit and be engaged.”
Soon, the Museum needed more space. The Edward B. Green Building was built and inaugurated in 1912. Another expansion in 1926 provided more room for education and community engagement.
Libbey fully funded this expansion himself. Sadly, he never saw its completion. The newly expanded Green Building opened in 1926 just a few months after his premature death. He left behind a onemillion-dollar endowment fund for the Museum, his collection of 42 paintings, and a fortune for his wife.
“When Mr. Libbey passed away, Mrs. Libbey signed off her life rights to the money he left for her,” McMaster said. “She told the Museum that it was their money, not hers. The Museum used that money to employ thousands of Toledoans during the Great Depression, adding more new wings and the Peristyle.”
Florence Scott Libbey passed in 1938, leaving a large portion of her estate to an endowment fund that continues to support Museum operations and acquisitions today.
“We will always honor our history and the foundation it created,” McMaster said. “This reinstallation both pays tribute to the past and boldly charts a course for the future.”
An Understanding of the Present
Just as the Libbeys envisioned a museum for their community, today’s reinstallation has been shaped by listening to the voices of Toledo. Nearly 1,000 community members have shared input on the reinstallation through engagement activities, surveys, and focus groups.
Community members told the Museum they wanted to see more voices represented, more stories told, and more ways to connect with art. The reinstallation’s focus on quality from across time and space will allow the Museum to highlight artists from a broader range of cultures and backgrounds, while also making the galleries easier to navigate with clearer signage and improved accessibility.
“This project isn’t for us—it’s for our members and visitors,” said Andrea Gardner, Deputy Director, TMA. “We wanted to make sure the community’s input guided every step of the process.”
To assist in evaluating and implementing that input, the Museum worked closely with our Community Council, a diverse group of around 30 Museum members who meet regularly to provide their insights on key Museum decisions and initiatives.
The outcome is the first comprehensive gallery installation at TMA in more than 40 years. It will present the Museum’s collection chronologically, showcasing how cultures have always interacted during different periods of history, explained Gardner. At the same time, critical infrastructure—from HVAC to roofing—is being upgraded to keep the building itself in top condition. These upgrades aren’t just about the building—they’re about the collection and the people who visit and work here. Improved climate control will safeguard artworks while also making the galleries more comfortable year-round.
“By combining the reinstallation of the galleries alongside the unwinding of deferred maintenance, this project helps us care for both the collection and architecture,” Gardner said. “Updating our curatorial narrative while galleries are already closed for essential maintenance upgrades also minimizes disruption to the visitor experience and reduces the museum’s overall costs.”
Visitors will also notice thoughtful enhancements designed to make exploring the galleries more welcoming. From added seating and improved lighting, to more accessible wall texts and digital guides, the reinstallation is being planned with comfort, learning and inclusivity in mind.
The SANAA-designed Glass Pavilion also will evolve into a space for expanded experimentation and innovative programming. The space will stay open during the Green Building’s renovations. Once that work is complete, the focus will shift to the Glass Pavilion, which will continue to house the Hot Shop and the Sara Jane DeHoff Guest Artist Pavilion Project (GAPP), but also will become a hub for more dynamic programming like artist commissions, immersive installations and multi-generational educational activities.
“We hear repeatedly from our outreach to community that people look to us to experiment and to challenge them,” Gardner said. “The Glass Pavilion will be a place for artist projects, immersive experiences, and news ways for the community to engage with the Museum.”
A Future of Increased Understanding
Change is never easy, but it is essential to growth. The Libbeys understood that when they laid the foundation for TMA in 1901. Today’s leadership is carrying that spirit forward with this reinstallation, ensuring that the Museum remains a place of inspiration for generations to come.
The new galleries will not only display art differently—they will invite visitors to experience art differently. Integrated storytelling, greater accessibility, and innovative displays will create connections across cultures and time periods. Visitors will see themselves reflected in the collection and encounter new perspectives that spark dialogue.
For example, TMA is excited to reinstall the period room from the Château de Chenailles as part of this transformation. As an example of how technology and history can coincide, this 17thcentury space will feature digital components that immerse visitors in its historical context. Through interactive interpretation, guests will explore how the Château was used, discover architectural and decorative details, and engage with stories that bring the room to life. These enhancements are designed to resonate with visitors of all ages, making history feel immediate and personal.
The Château de Chenailles is indicative of the ways that the Museum will engage technology as a complement to rather than a distraction from the artistic experience. Ubiquitous power and data will provide programmatic flexibility; features such as soundproofing, modular walls and advanced projection/audio equipment will allow us to present works from the collection in ways we could not before.
“As many museums embark on these types of large-scale projects, TMA is uniquely positioned to tell a chronological story that makes connections across cultures we’re designing engaging experiences that our members will love, and visitors will return to see again and again,” Gardner said. “With the Libbeys’ vision, with feedback from this community, and with the passion of the people who make TMA what it is today, the new Museum will be amazing. We can’t wait to show you.”