The National Gallery in London has confirmed one of the most significant transformations in its modern history: a £375 million investment to construct a major new wing and the removal of its long-standing restriction on acquiring artworks created after 1900. The expansion, titled Project Domani, marks a decisive shift in the institution’s curatorial direction and its position within the global art landscape.
Key Developments
The funding comes from two substantial donations of £150 million each, provided by the Crankstart Foundation and the Hans and Julia Rausing Trust, with an additional £75 million contributed by the gallery’s own trust and several philanthropic supporters. An international architectural competition will determine the design of the new wing, with construction expected to begin in the early 2030s.
Most notably, the National Gallery will abandon its century-old policy of avoiding acquisitions of post-1900 art—a division historically maintained to prevent overlap with Tate. According to its leadership, the line marking the year 1900 has become increasingly artificial, limiting the gallery’s ability to shape a comprehensive narrative of art history. Lifting the restriction will enable the institution to engage directly with modernism, early abstraction, and other influential twentieth-century movements.
The gallery has also acknowledged the imbalance in its own collection. Out of more than 2,300 paintings, only 27 are by women. A broader acquisition strategy is intended to correct this disparity and to expand the representation of under-recognized artists.
Editorial Analysis: What This Means for the Art World
This shift extends far beyond the addition of gallery space. It signals a redefinition of the National Gallery’s cultural identity. The decision will influence curatorial practice across Europe, reshape scholarly discourse, and broaden the historical framework through which visitors experience art.
The integration of twentieth-century works will create new dialogues within the permanent collection. Paintings by Turner or Constable may eventually appear alongside early modernists, fostering a more fluid and historically accurate timeline. This modernization also aligns the National Gallery with international institutions that already treat modern and contemporary works as essential components of art history, rather than separate chapters.
The announcement is equally consequential for the art market. Institutional validation often increases demand, visibility, and long-term value for artists whose works enter museum collections. By opening its doors to modern art, the gallery positions itself as an active participant in shaping the canon of the last century.