Joanna Mytkowska, director of the Museum of Modern Art in Warsaw (MSN Warsaw), has been guiding the institution through one of the most challenging periods in contemporary museum leadership. The museum recently moved into its striking new building in central Warsaw, designed by American architect Thomas Phifer, who is best known for his work on the Glenstone Museum in Potomac, Maryland. Located in Warsaw's Central Square near the Palace of Culture and Science—a Communist-era landmark dedicated to Joseph Stalin in 1955—the museum's white modernist structure has become an iconic presence in a city that continues to undergo dramatic transformation.

Mytkowska has served as MSN Warsaw's director since 2007, steering the institution through eight turbulent years of right-wing populist rule in Poland from 2015 to 2023. The museum became a flashpoint during Poland's recent presidential election, when progressive Warsaw mayor Rafał Trzaskowski lost to nationalist candidate Karol Nawrocki, signaling another rightward political shift. While Donald Tusk of the Civic Platform party remains Poland's more powerful prime minister, the upcoming parliamentary election in 2027 will be crucial for the country's political future.

The new museum building has already achieved iconic status due to its prominent location in the heart of Warsaw. According to Mytkowska, the location itself encapsulates layers of Polish history, from war and Communism to the country's ongoing transformation. "Our collection is trying to help people from other places understand that transformation by showing international contemporary art from a local perspective," she explained in a recent interview.

However, the museum faces significant local controversy. Mytkowska noted that there were enormous expectations from people who had waited for this building for 20 years, and some visitors become upset when they don't find themselves or their own stories reflected in the collection. The institution faces criticism from multiple directions: young artists who believe the museum isn't radical enough, and traditionalists who question why the museum doesn't present a chronological historical narrative.

The museum's approach to challenging traditional canons has been central to its identity from the beginning. Mytkowska explained that contemporary art in Poland has a difficult history, having been marginalized during the Communist era and struggling for survival during the transformation period of the 1990s and early 2000s. "We are coming from the roots of self-organized radical artistic communities," she said, noting that this background creates pressure to renegotiate traditional museum canons by including female artists, diverse perspectives, and addressing issues like colonialism.

While MSN Warsaw was founded in 2005, it didn't begin collecting until 2011 due to lack of governmental support. During the Communist period, there was no infrastructure for public institutions to purchase contemporary art. Through lobbying and pressure on the Ministry of Culture, Mytkowska helped negotiate a special grant program for four museums dealing with contemporary art. In the best years, MSN Warsaw could receive around €1 million (approximately $1.17 million) for acquisitions, though during Poland's populist period from 2015-2023, funding dropped dramatically—in the worst year to just €30,000 ($35,100).

Despite funding challenges, the museum has managed to collect around 1,000 works over nearly 15 years. The current exhibition, "The Impermanent: Works from the MSN Collection," displays approximately 150 of these works and runs through October 5. The opening exhibition was deliberately designed as fragmentary and differentiated, showing various aspects of the collection rather than following a chronological or geographically focused approach.

Navigating Poland's political landscape has required careful strategy and adaptation. During the eight years of populist rule under the right-wing Law and Justice Party, Mytkowska managed to keep the museum operating by remaining relatively small and less visible. "In the beginning they were testing what they could do. They were not immediately destroying everything," she recalled. The museum survived through careful negotiation, though Mytkowska admitted to seeking expert advice on how to communicate with government officials who didn't welcome different opinions.

The museum became a target during the recent presidential campaign, with right-wing candidate Karol Nawrocki's campaign characterizing it as an expensive institution showing art disturbing to "normal people"—allegedly featuring excessive nudity, LGBT themes, and sexual content. Mytkowska disputes these characterizations but acknowledges the difficulty of rational discussion with radical right-wing politicians. The polarized political environment has made it challenging to communicate the nuances of the museum's progressive position.

Looking toward upcoming exhibitions, MSN Warsaw will present "Near East, Far West—Kyiv Biennial 2025" opening October 3, and "The City of Women," a four-part exhibition opening in November that includes "The Woman Question: 1550-2025," curated by Alison M. Gingeras. These exhibitions continue the museum's commitment to addressing contemporary social and political issues through art.

Mytkowska has been closely following developments at American cultural institutions and offers advice based on her experience with authoritarian governance. "From day one, we have kept telling our American friends, you will have to fight," she said. She emphasizes that fighting means articulating positions and finding space for those positions, even when legal frameworks are being challenged or broken by populist governments.

The museum is planning an exhibition tentatively titled "Political Art Under the First and Second Trump," examining how civil society responds to political pressure. Mytkowska notes that Poland's experience with self-organization during Communism provided tools for resistance that may not exist in countries where democratic institutions have been more stable. "As much as you let it happen, it will happen. You need resistance," she concluded, emphasizing the importance of protecting cultural institutions from political interference.

As MSN Warsaw settles into its new home and prepares for potential future political challenges, Mytkowska's experience offers valuable insights for cultural leaders worldwide facing similar pressures. The museum's commitment to progressive values and international dialogue continues despite—or perhaps because of—the hostile political environment in which it operates.