Some moments in history feel like a long-overdue shift toward progress, and Anne Collins Smith being named as Chief Curator at the New Orleans Museum of Art is a groundbreaking step toward a more inclusive and representative art world. Now, she has not only reached the pinnacle of a career she has meticulously built but also made history. As the first Black American and the first Black native New Orleanian to hold a full curatorial role at NOMA, this is more than a personal achievement—it is a testament to the power of perseverance, community, and cultural stewardship.
“This is an opportunity of a lifetime,” Smith said, reflecting on her long journey in the art world. That journey began with a deep foundation in African American art, nurtured at Spelman College, where she earned her undergraduate degree before going on to complete an MA in visual arts administration at New York University. Over the years, she has held influential positions at institutions including the Spelman College Museum of Fine Art, the Davis Museum at Wellesley College, and the Saint Louis Art Museum. Through these experiences, she honed her commitment to making art both accessible and resonant across diverse audiences.
Yet, her new endeavor at NOMA holds a significance that extends beyond her impressive resume. It is deeply personal—a homecoming and a duty that carries weight. “It means that I’ve done the work, and I can be a representative of all that’s great about New Orleans,” she said. “It means that I get to represent a plethora of communities that help to shape me.”
Smith is no stranger to pioneering spaces. In Atlanta, she was part of an ecosystem that uplifted Black women artists and celebrated their contributions to the art world. She recalls helming a show featuring the artist Maren Hassinger, years after having studied Hassinger’s practice as an undergraduate. “To date, there has been none since,” she said, emphasizing the importance of such exhibitions in broadening the artistic canon.
With her appointment, Smith brings not just expertise but also a distinct vision. She describes herself as a “vernacular cosmopolitan,” a term coined by colonialism scholar Homi K. Bhabha, which reflects her ability to move between the grassroots and the elite, understanding and appreciating both. “I am trained in a traditional sense, but I’m also rooted in the community sense,” she explained. This dual perspective uniquely positions her to lead NOMA toward a future where its collections and exhibitions resonate more deeply with all audiences.
Her work is already set in motion, with upcoming projects including planning for the reinstallation of the museum’s permanent collection and serving as the institutional curator for retrospectives on artists Hayward Oubre and Willie Birch. But for Smith, her true impact will be measured by how she fosters engagement and availability.
“My role is to make the art resonant, accessible, and enjoyable by everyone,” Smith tells ESSENCE. “There’s something completely universal about the museum, and I want to bring that about, and I want to make people feel welcomed.”
In her commitment to inclusivity, Smith is a connector between art and audience, between history and contemporary discourse, between what has been and what could be. There stands a poem outside of Alex Haley’s farm in Tennessee titled Bring That Learning Back Home, that has deeply influenced her outlook. In it, a mother urges her child to go out into the world, absorb information, and return as a provider for others. “I want to be a bridge builder,” she said, acknowledging the responsibility of visibility and leadership.
As she settles into this pioneering position, Smith’s vision for NOMA is clear: an institution that honors its past while boldly embracing the future, a space where every visitor can find themselves reflected in the narratives on the walls. By continuing to push the boundaries of curatorial practice, she remains rooted in the place that raised her, carrying forward the stories, traditions, and artistic legacies of New Orleans.