Look—across the pond. He’s young, he’s smart, and uncommonly poised. If he’s not Superman, who is? Nicholas Cullinan, recently appointed director of the British Museum, is guiding one of the world’s most complex and storied institutions into its next chapter—while keeping an eye on the past. In this wide-ranging conversation, he reflects on public responsibility, international stewardship, and the museum’s role as a living archive of human history.
At the age of forty-seven, you’ve already held distinguished roles at some of the world’s leading museums. Beyond
your celebrated refurbishment of the National Portrait Gallery, what experience do you regard as most valuable in your role at the British Museum?
I immediately think of my time at the Metropolitan Museum of Art. Working in another encyclopedic museum gave me a deep understanding of the balance between breadth and depth in a museum. The Met’s vast collection and its departmental expertise provided a great lesson in how important it is to manage both. It’s not just about having the widest range of objects but understanding the unique depth and scholarship within each department. Here the challenge is to connect the sheer depth of our collection with the public in a meaningful way.
My time at the British School at Rome was also formative. It gave me the opportunity to mix with colleagues across the arts and break down disciplinary barriers, particularly between art history, history, and archeology, which has helped me work across different fields and perspectives.
How much do we know so far about the redesign of the Western Range? What do you expect will be among its most innovative changes?
The redesign is still in its early stages, but we have started working with Lina Ghotmeh—an amazing Lebanese architect based in Paris, and I’m really excited about what we can do together. As well as designing beautiful spaces we’re also looking at how to preserve important bits of heritage architecture, and how to better house and showcase our incredible collection. The initial process will take a year or so, and we hope to share more detailed designs next year.
I think the most innovative aspect of this project will be the way the space engages with the extraordinary objects we house. Lina actually wanted to be an archeologist when she was younger. That background means she brings a real sensitivity to the collection, and I think the result will be spaces that have a poetic and historical connection to the objects themselves.
What will your first moves be in the seemingly endless debate regarding the repatriation of some of the British Museum’s best-known treasures?
These issues are complicated, and the British Museum is always careful to approach them with humility. My approach is to engage in open, respectful dialogue with those making claims. In the end it’s not about owning objects; it’s about how we work together. That means, listening, understanding, and seeing how we can cooperate on a deeper level, always mindful that we’re caretakers of these objects only temporarily. How we handle them today will be judged by future generations.
Where do you see the British Museum in ten years?
In ten years, I see the British Museum having made significant strides in the physical and intellectual transformation we’re now embarking upon, which will put accessibility and inclusivity at the heart of our visitor experience. The Western Range project will be well on its way, and we’ll be halfway through a larger renovation and restoration that we anticipate will take at least twenty years to complete.
It’s hard to predict what the future will hold, but I’m certain the British Museum will always be a place of learning, connection, and reflection. Our work here is part of a much larger story that will continue long after we are gone.
