Two prominent art museums in North Texas are undergoing major leadership transitions this fall, marking the end of significant tenures and the beginning of new chapters for both institutions. The Amon Carter Museum of American Art in Fort Worth will bid farewell to its longtime director, while the Dallas Museum of Art prepares to welcome new leadership after months of searching.

Dr. Andrew J. Walker will conclude his remarkable 14-year tenure as Executive Director of the Amon Carter Museum of American Art on August 31. Under Walker's leadership, the Fort Worth museum has experienced unprecedented growth, with significant expansions to both its collections and endowment. The museum's internal galleries have been completely renovated and reimagined to enhance the visitor experience, emphasizing a thematic presentation approach that connects artists and their works across different time periods.

Walker has been instrumental in transforming the Carter's exhibition program by incorporating site-specific installations created by living American artists, a departure from traditional museum programming. He has also dramatically improved access to the Carter's extensive collection, making it more available both on-site and through enhanced online platforms. "I have been honored to lead the Carter for the past fourteen years and watch it evolve into the impactful institution it is today," Walker reflected. "I am exceptionally proud of all that we have accomplished, whether through our commitment to new scholarship on American art, our exceptional exhibition program, or our continued expansion of the Carter's collection to include new voices and seminal works that tell the story of American creativity."

Throughout Walker's tenure, the museum has consistently acquired important works by acclaimed American artists, building an impressive collection that includes notable pieces by Ruth Asawa, George Bellows, Dawoud Bey, Mary Cassatt, Gabriel Dawe, Richard Hunt, Norman Lewis, Glenn Ligon, and John Singer Sargent. Perhaps most significantly, Walker spearheaded an innovative collecting initiative specifically designed to amplify Indigenous artists' contributions to American visual identity through the history of photography. This groundbreaking effort resulted in the addition of artwork by more than ten Indigenous photographers, including works by Tom Jones, Shelley Niro, Cara Romero, Sarah Sense, and Hulleah Tsinhnahjinnie.

Karen Hixon, President of the Board of Trustees, praised Walker's leadership during a crucial transitional period for the museum. "Andrew Walker became director of the Amon Carter Museum of American Art before my mother Ruth Carter Stevenson passed away," Hixon explained. "Andrew came to understand her passion and vision and continued to ably lead the Museum through the transition years and beyond."

One of Walker's most visible achievements came in 2019 when he successfully led the museum through a major renovation project. This comprehensive overhaul expanded and updated exhibition spaces, creating wider galleries with improved sightlines while dedicating 7,000 square feet specifically for special exhibitions. During this same period, the museum unveiled a completely new website, dramatically increasing public access to the collection and the wealth of stories about American art that it contains. The renovation also included a significant expansion of the museum's photography vaults, incorporating the latest advancements in climate control cold storage technology to ensure future collection growth and continued preservation of the museum's valuable holdings.

In 2018, Walker supported the launch of the museum's Carter Community Artists initiative, a program dedicated to supporting and collaborating with local artists while providing the public with opportunities to learn from and work alongside artists active in the community. The museum has also established an extensive network of community partners to enhance engagement with visitors both at the Carter and beyond the museum's physical walls. "A particular highlight for me has been our expanded engagement with the communities we serve, and the relationships we have built with our partners and supporters," Walker noted.

Reflecting on his decision to step down, Walker explained, "Given all that we have accomplished together, it feels like the right moment for me to depart and allow a new leader to take the helm as the Carter plans for its future." Scott Wilcox, the Amon Carter Museum of American Art's Chief Operating Officer, has been appointed as interim Executive Director. The Board of Trustees will launch a comprehensive search for the Carter's next permanent Executive Director in the coming weeks.

Meanwhile, the Dallas Museum of Art is preparing for its own leadership change after an extended search process. Eleven months after Agustin Arteaga departed from his role at the Dallas Museum of Art, the institution will welcome Brian Ferriso as its new Eugene McDermott Director on December 1. Ferriso brings nearly two decades of museum leadership experience, having served as Director of the Portland Art Museum (PAM) in Oregon for almost 20 years.

Ferriso expressed his enthusiasm for the new role and his vision for the museum's future. "I've long believed that museums can play a vital role within the civic and social fabric of a community, and as the City's museum, the Dallas Museum of Art is the perfect place for me to carry on this work," he stated. "The Museum is at an inflection point, with an impressive legacy behind it and a new future ahead, catalyzed by the current expansion project that will allow the DMA to establish greater connections with the community through its outstanding collections and programs. I feel lucky to join at such a transformative moment and am excited to work hand-in-hand with the Museum's dedicated staff and Board—as well as City leaders, stakeholders, and the public—to help shape the evolving vision for the DMA."

Ferriso's track record at the Portland Art Museum demonstrates his exceptional leadership capabilities and strategic vision. Since his appointment as Director of PAM in 2006, he has more than doubled the museum's curatorial staff and permanently endowed almost half of those positions, representing a significant investment in the institution's long-term stability and scholarly capacity. Under his stewardship, the museum's endowment has increased by $40 million while simultaneously eliminating $7 million in unfunded debt, demonstrating his skill in financial management and fundraising.

One of Ferriso's most notable innovations at PAM was the creation of the Art Access Endowment, which supports free admission in perpetuity for children 17 and under, provides free school tours, and funds family free days. This initiative reflects his commitment to making art accessible to all community members regardless of economic circumstances. Under his leadership, PAM also served as the co-presenting institution for "space in which to place me" (2024), Jeffrey Gibson's groundbreaking exhibition for the U.S. Pavilion at the Venice Biennale—marking the first solo presentation of an Indigenous artist for the U.S. Pavilion.

Ferriso has been a driving force behind the diversification of PAM's collection, actively working to incorporate more works by underrepresented artists with particular emphasis on acquiring pieces by women, Native American, and Black artists, as well as works by other artists of color. His commitment to inclusivity extends beyond acquisitions to institutional structure and community engagement. He has worked extensively to expand engagement with the Native American community and increase its representation within the museum through several innovative initiatives, including creating a new Assistant Curator of Native American Art position, adding Native American representation to the museum's Board of Directors, and establishing a Native American Advisory Committee to provide guidance on exhibitions and programs.

Gowri Natarajan Sharma, President of the Dallas Museum of Art's Board, highlighted Ferriso's proven expertise in areas crucial to the DMA's current needs. "Brian Ferriso is a leader with a proven track record in realizing successful capital campaigns and sustainable organizational growth," she explained. "He has shaped an ambitious vision for the Portland Art Museum and developed programs that advance its cultural, civic, and social role in the city and region."

Before beginning his tenure in Dallas, Ferriso will oversee one final major milestone at PAM by opening the museum's comprehensive campus transformation to the public in November. This experience managing a complex renovation project represents a significant asset for the Dallas Museum of Art, which embarked on its own ambitious renovation project in 2023 by selecting Nieto Sobejano Arquitectos for the transformation of its Edward Larrabee Barnes-designed building. Sharon Young, the DMA's Board Chairman and co-chair of the executive search committee, emphasized the value of this experience: "He comes fully equipped with learnings and know-how from the capital project he led in Portland, which will be a tremendous asset as he advances the DMA's own transformation."