DOUBLE HATTING
In March, news broke that the Singapore Art Museum (SAM) had appointed Eugene Tan as its director—a position that he would hold concurrently with his directorship at the National Gallery Singapore (NGS), making him the leader of the country’s two major public art institutions. The revelation was met with a placid public response, while in private, conversations on the subject exploded.
Shortly after the announcement, I connected with some 15 gallerists, collectors, magazine editors, art fair directors and curators at Art Basel Hong Kong. Without fail, every single one of them asked, “Why the same individual? Is there no one else from Singapore or elsewhere who could do this?” They were all quick to qualify that their reactions had nothing to do with the caliber of SAM’s new
You’re reading a preview, subscribe to read more.
Start your free 30 days