2011

fiNAL report to the President

and Congress of the United States

fiNAL report National Museum American Latino

To illuminate

The American 

story for all

T he ye a r two tho u s an d an d E L E V E N
To illuminate the American story for all To illuminate the American story for all
MAY 2011

We the People of the United States, simple words from our Constitution that for over two hundred years 

have symbolized the bond between the federal government and all of our citizens. It is this ideal that 

has inspired the conversation between the American people and we the members of the National 

Museum of the American Latino Commission, who were tasked to answer the question of whether 

there should be a National Museum that reflects the contributions of Latinos to every aspect of 

American History and Culture.

The answer is abundantly clear. Yes. The time has come for the creation of a new museum on the 

National Mall, the place where our nation’s most important monuments are located, where we conduct 

the business of our Congress, pay tribute to our veterans, gather to inaugurate our Presidents and where 

we give full voice to our freedom of speech. The Mall, more than any other public space in our country 

does indeed tell the story of America, and yet that story is not complete. There must also be a living 

monument that recognizes that Latinos were here well before 1776 and that in this new century, the 

future is increasingly Latino, more than fifty million people and growing. 

We believe strongly that this new museum should be a part of the Smithsonian Institution, to be known 

as The Smithsonian American Latino Museum. In 1846, when the Smithsonian was created with a bequest 

by the British subject James Smithson, the gift was intended to create an inclusive institution in the 

young, immigrant culture of the United States. While the mission of the Smithsonian Institution “for the 

increase and diffusion of knowledge” has never wavered, the reality of the institution as the principal 

repository of our nation’s collective memory, achievements, research and cultural identity, has been 

challenged by the lack of representation, resources, artifact, exhibitions and programming that reflect 

Latino contributions to our country’s development. We applaud the Smithsonian Institution’s desire to 

imagine itself as a place that more fully reflects the diversity and depth of American civilization and 

values in all its multicultural beauty, by joining this noble effort.

At this moment in our country’s history when cultural understanding could not be more important to the 

enduring strength of our democratic ideals, we ask that you consider the importance of creating The 

Smithsonian American Latino Museum not only as a monument for Latinos, but as a 21st Century learning 

laboratory rooted in the mission that every American should have access to the stories of all Americans. 

A place that will illuminate the American Story for All.

Some might ask in these very difficult economic times how we can afford such an endeavor. The real 

question is how can we afford not to. Our commission members join the thousands upon thousands of 

American citizens, in communities across this country who responded to our work, as we respectfully 

submit this important document which details the methodology by which The Smithsonian American 

Latino Museum can become a reality. 

We look forward to standing with you as we open the doors of this important new American Institution.

E Pluribus Unum,

Henry R. Muñoz III

Chairman
From left to right:

Dr. José B. Fernández, Raul Danny Vargas, Eva Longoria, Susan Gonzales, Vice Chair, Cindy Peña, Abigail M. Pollak, 

Ellie López-Bowlan, Dr. Eduardo J. Padrón, Luis R. Cancel, Lorraine García-Nakata, Henry R. Muñoz III, Chairman, 

Andrés W. López, Secretary of the Interior Ken Salazar, Sean D. Reyes, Dr. Aida T. Levitan, Cid Wilson, Dr. Emma 

Sepúlveda, Dr. Gilberto Cárdenas, Sandy Colón-Peltyn, Emilio Estefan Jr., Vice Chair, Rosa J. Correa, Carlos J. Ezeta, 

Moctesuma Esparza, Nelson Albareda, (not pictured)

The Commission to study the potential Creation 

of the National Museum of the American Latino 

2009-2011 
i

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Submitted by

Henry R. Muñoz III, Chairman, Texas

Susan Gonzales, Vice Chair, California

Emilio Estefan Jr., Vice Chair, Florida

Nelson Albareda, Florida

Luis R. Cancel, California

Dr. Gilberto Cárdenas, Indiana

Sandy Colón-Peltyn, Nevada

Rosa J. Correa, Connecticut

Moctesuma Esparza, California

Carlos J. Ezeta, Nevada

Dr. José B. Fernández, Florida

Lorraine García-Nakata, California

Dr. Aida T. Levitan, Florida

Andrés W. López, Puerto Rico

Ellie López-Bowlan, Nevada

Dr. Eduardo J. Padrón, Florida

Eva Longoria, Texas

Cindy Peña, Colorado

Abigail M. Pollak, Florida

Sean D. Reyes, Utah

Dr. Emma Sepúlveda, Nevada

Raul Danny Vargas, Virginia

Cid Wilson, New Jersey

This Final Report to the President and Congress is respectfully submitted by the members of the Commission to Study 

the Potential Creation of a National Museum of the American Latino.

COMMISSION MEMBERS

iii

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Executive Summary

This Final Report on the Potential Creation of the 

National Museum of the American Latino (henceforth 

“Report” or “Report to Congress”) is submitted to the 

112th U.S. Congress by the Commission to Study the 

Potential Creation of a National Museum of the American 

Latino (the “Commission”). This Final Report provides 

an in-depth analysis and recommendations based on the 

Commission’s findings following outreach to communities 

throughout the United States.

American Latinos are inextricably woven into the fabric 

of the United States and have contributed enormously 

to the development of our great nation. For the benefit 

of all Americans, and to ensure our country’s future 

vitality, there is a compelling need to better tell this story. 

Through an exhaustive process, the Commission has 

determined that a national museum focused on American 

Latino history, art, and culture is not only viable but 

essential to America’s interests. This executive summary 

synthesizes the findings and recommendations of the 

Commission, and the full report provides the details and 

background needed to bolster these conclusions.

COMMISSION’S 

WORK PROCESS

The legislation to establish the Commission was 

enacted on May 8, 2008, as Public Law 110-229, 122 

Stat 754. The Commission consists of 23 members 

appointed by the President, the Speaker of the House 

of Representatives, the Minority Leader of the House of 

Representatives, the Majority Leader of the Senate, and 

the Minority Leader of the Senate. 

The Commission members were chosen based on 

qualifications in museum administration, expertise 

in fundraising, experience in public service, and 

demonstrated commitment to the research, study, or 

promotion of American Latino life, art, history, or culture. 

The legislation contains specific direction for the 

Commission to 

•	 submit a report to the President and Congress 

containing recommendations with respect to a plan of 

action for establishing and maintaining an American 

Latino museum in Washington DC

•	 develop a fundraising strategy

•	 draft legislation to carry out a plan of action to create 

and construct the museum

The Commission was given two years to conduct its work 

and submit a report. The Commission prepared this Final 

Report containing the technical information needed to 

provide Congress with a foundation for making a decision. 

This Final Report delivers critical information in a timely 

manner to expedite the decision making process.

To date, the Commission has met as a whole eight times. 

The Commission held its first meeting on September 

18, 2009, at which time it chose its leadership and 

organizational structure to accomplish the tasks directed 

by Congress. A chairman and two vice chairpersons were 

selected. The following six committees were formed to 

organize the functions of the Commission: 

•	 Public Communications

•	 Fundraising 

•	 Vision, Mission, and Programs

•	 Governance

•	 Site Assessment

•	 Procurement

This Final Report to Congress is the document that 

responds to that legislative direction. The legislation 

further requires that the report address seven issues. 
iv

National Museum of the American Latino Commission 

Executive Summary 

Legislative Issue from Public Law 110-229 Chapter in this Report Where the Issue is Addressed

1. The availability and cost of collections to be acquired and 

housed in the museum

•	 Collections and Programs 

2. The impact of the museum on regional Hispanic- and Latinorelated museums•	 Collections and Programs 

•	 Fundraising Plan

•	 Public Outreach 

3. Possible locations for the museum in Washington DC and 

its environs, to be considered in consultation with the 

National Capital Planning Commission and the Commission 

of Fine Arts, the Department of the Interior, and 

Smithsonian Institution

•	 Site Assessment: Locations and Facilities 

4. Whether the museum should be located within the 

Smithsonian Institution

•	 Site Assessment: Locations and Facilities 

•	 Fundraising Plan 

•	 Public Outreach 

5. The governance and organizational structure from which 

the museum should operate

•	 Governance and Organizational Structure 

6. How to engage the American Latino community in the 

development and design of the museum

•	 Public Outreach 

•	 Plan for Public Engagement upon Passage of Legislation

7. The cost of constructing, operating, and maintaining the 

museum

•	 Site Assessment: Locations and Facilities

•	 Capital and Operating Budget

•	 Fundraising Plan

The Commission selected the National Park Service 

Denver Service Center to perform project management 

and contracting services. Through a competitive federal 

government contracting process, five firms and their 

subcontractors were selected to conduct the work of the 

Commission along the lines of the committee assignments.

Public engagement

The legislation allowed the Commission to convene a 

national conference on the American Latino museum. 

However, in lieu of convening a national conference, the 

Commission chose to engage the American public in a 

dialogue about a potential museum through a series of 

public forums and informational meetings. 

The Commission met and engaged communities 

throughout the country in a dialogue about an American 

Latino museum. Small groups of Commissioners travelled 

to cities around the country to gather information from 

community leaders and the general public; the cities were 

Washington DC; Chicago, Illinois; Santa Fe/Albuquerque, 

New Mexico; Austin, Texas; Minneapolis/St. Paul, 

Minnesota; Los Angeles, California; Miami, Florida; New 

York, New York; San Juan, Puerto Rico; and San Francisco, 

California.

The main purpose of the public forums, beyond generating 

awareness, was to gather feedback from the general public. 

The statements that resonated most clearly throughout the 

forums, were– 

•	 Latinos are part of the fabric of this nation

•	 There is an urgency, desire, and need for a museum

to highlight and preserve this great heritage for the

benefit of all Americans.

The Commission’s efforts were also represented at many 

conferences of national organizations; specifically, the 

American Association of Museums, National Association of 

Latino Arts and Culture, National Association of Hispanic 

Journalists, National Association of Latino Elected Officials, 

National Council of La Raza, the Association of Hispanic 

Advertising Agencies, the Cuban American Council, the 

National Leadership Institute, and the League of United 

Latin American Citizens. Many have expressed their desire 

for an American Latino museum in Washington DC through 

official letters. 

The Commission expanded its public outreach efforts with a 

website, and an active presence on a variety of social media 

sites. The Commission’s work also received substantial 

media coverage in English and Spanish throughout the 

country, generating millions of media impressions.
v

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

In addition, contractors representing the Commission visited 

and interviewed scores of museum professionals, business 

leaders, and others as part of their research. 

COMMISSION FINDINGS 

AND RECOMMENDATIONS

On the subject of Governance and Organizational 

Structure, the Commission submits the following: 

•	 The Commission recommends that Congress establish 

within the Smithsonian Institution a museum to be 

known as the Smithsonian American Latino Museum.

•	 The Smithsonian American Latino Museum will be 

established within the Smithsonian Institution for 

the collection, study, and establishment of programs 

relating to American Latino life, art, history, and 

culture. 

•	 A museum board of trustees, with designated duties, 

powers, and authorities, will be established within the 

Smithsonian Institution. 

On the subject of Collections and Programs, the 

Commission submits the following: 

•	 The Smithsonian American Latino Museum will be 

unprecedented in the Smithsonian system. The 

museum will serve as a gateway to the National Mall 

and integrate its programs, training, and research into 

the Smithsonian family of museums. 

•	 The Smithsonian American Latino Museum will be 

created as a destination site on the National Mall that 

will enhance the visitor’s Washington DC experience. 

•	 The museum will be a collecting institution that 

retrieves, records, preserves, and shares the 

multifaceted material, culture, and intellectual capital 

of this country. 

•	 The museum will have a strong education and public 

program emphasis and serve as a place of ongoing 

cultural dialogue. 

•	 The museum will advance research and scholarship to 

augment higher learning and, ultimately, benefit the 

American people. 

•	 Existing institutions are enthusiastic about 

collaboration with the Smithsonian American Latino 

Museum, with enhanced opportunities in collections, 

exhibition development, programming, research, and 

training. 

•	 The creation of the Smithsonian American 

Latino Museum will stimulate an environment of 

collaboration among American Latino cultural 

institutions and centers, and a new cultural ecology 

could be fostered that ultimately promotes greater 

cultural awareness and understanding. 

•	 The museum will establish a grant program in 

consultation with the Institute of Museum and Library 

Services with the purpose of improving operations, 

care of collections, and development of professional 

management at American Latino museums across the 

nation.

On the subject of possible locations, the Commission 

submits the following: 

•	 The Commission recommends Congress designate 

the Capitol Site as the site for the museum. 

•	 The Capitol Site has the potential to serve as the 

pedestrian gateway between Washington DC and the 

National Mall, more specifically, the pedestrian and 

vehicular traffic from Union Station and along First 

Street and Third Street. This site is arguably the most 

significant open site remaining in the Capitol grounds. 

The site, surrounded by parks and wide avenues, is 

flat, open, and highly visible from all directions. In 

addition, the Capitol Site is located in an extremely 

desirable location facing the Capitol on the National 

Mall at the head of Pennsylvania Avenue, which offers 

easy access to public transit. The Capitol Site could 

accommodate a building of approximately 252,000 

square feet. Other required space needs for the 

museum could be accommodated in off-site facilities. 

•	 In the course of the Commission’s consultation 

process, the National Capital Planning Commission 

provided a statement endorsing the Capitol Site as an 

appropriate site for the museum. 
vi

National Museum of the American Latino Commission 

Executive Summary 

On the subject of Fundraising, the Commission submits 

the following: 

•	 The Commission found that no federal appropriation 

would be necessary for the first six years upon 

establishment of the museum. Private donations 

could sufficiently fund the initial years of planning and 

organization that are required in the pre-design, preconstruction phase of such a project.

•	 The Commission has determined that a private 

fundraising goal of $300 million, based on an overall 

$600 million total cost figure, with a 50-50 split 

between private donations and congressional 

appropriations is achievable over a 10-year span. 

To achieve this goal, the museum will require an 

aggressive and comprehensive public awareness 

campaign to secure the estimated $300 million from 

private sources. The 50-50 private-public split and the 

public awareness campaign are key elements that will 

increase the likelihood of success. To meet the $300 

million private-sector fundraising campaign goal from 

the private sector, the budget for fundraising expenses 

is approximately $75 million. The campaign would last 

up to 10 years, with full implementation beginning in 

2012. The 10-year duration is based on the experience 

of the National Museum of the American Indian and 

National Museum of African American History and 

Culture, which indicates the importance of a longer 

period to ramp-up fundraising. The most significant 

expense will be personnel, both the front line 

fundraisers and the support infrastructure necessary 

for their success. 

The Commission has determined there is a need for a 

new national museum in Washington DC that is devoted 

to the preservation, presentation, and interpretation 

of American Latino art, cultural expressions, and 

experiences; a museum that “illuminates the American 

story for the benefit of all.” 

The Commission, in recommending that the nation 

move forward with the goal of establishing a new 

national museum, recognizes that it must balance two 

vital priorities: not contributing to any new federal 

expenditure in the short term, while clearly moving 

forward with a national museum that integrates the Latino 

experience into the American narrative.

This study has discovered a large constituency of private 

corporations, foundations and individuals that are 

eager to support a museum that will tell the story of the 

American Latino. The Commission believes that much 

of the facility planning and initial programming of the 

museum, during its first six years, can be fully supported 

with nonfederal funds.

This Report to Congress defines the purposes and scope 

of the American Latino museum. More comprehensive 

reports in the areas of fundraising, public outreach, 

governance, collections and programs, and site 

assessment are available and will provide a foundation for 

the more detailed planning and implementation work that 

lies ahead. 

The Commission respectfully submits this Report to the 

President and Congress of the United States.
vii

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

SUMMARY OF RATIONALE

FOR THE RECOMMENDATIONS

LATINOS are WOVEN INTO 

THE FABRIC OF AMERICA

Latinos are an integral part of the history and culture 

of the United States. The American Latino story has 

been evolving for more than 500 years. Nevertheless, 

some Americans, including American Latinos, know 

little of our country’s rich Latino heritage. Written and 

oral narratives have not become part of the collective 

memory of our country. These stories have been untold, 

under told, or altogether forgotten.

All people of the United States contribute to the 

American identity. The telling of the Latino story in 

America recognizes a culture that represents a vital 

national asset. It is also an opportunity for a more 

complete telling of the complex American story. The 

Commission established to study the potential creation 

of an American Latino museum chose as a mission 

statement — To Illuminate the American Story for the 

Benefit of All. 

The statement acknowledges that an American Latino 

museum in our nation’s capital would serve not only the 

Latino public, but also the larger American public and 

international visitors, helping them to better understand 

and appreciate the compelling American narrative. 

The American values of faith, family, hope, patriotism, 

persistence, resilience, community, civic participation, 

and work ethic strongly resonate within the American 

Latino story.

LATINOS: A SEGMENT

OF SOCIETY VITAL TO 

AMERICA’S FUTURE

Population Demographics

Latinos became the largest ethnic group in the United 

States in 2008 with a population of over 52 million, 

including the 4 million American citizens residing in 

Puerto Rico, constituting over 16 percent of the total U.S. 

population. The Latino population of the United States is 

projected to be 132 million in 2050, when it will constitute 

30 percent of the nation’s total population.

According to the U.S. Census Bureau, in 2009 there 

were 21 states in which Latinos were the largest minority 

group. These states were Arizona, California, Colorado, 

Connecticut, Florida, Idaho, Iowa, Kansas, Massachusetts, 

Nebraska, Nevada, New Hampshire, New Jersey, New 

Mexico, Oregon, Rhode Island, Texas, Utah, Vermont, 

Washington, and Wyoming.

In 2009, 62 percent of Latinos 25 and older had at least 

a high school education; 13 percent had a bachelor’s 

degree or higher; and 935,000 had advanced degrees 

(master’s, professional, doctorate). In addition, 79,440 

Latinos were chief executives; 50,866 were physicians 

and surgeons; 48,720 were post-secondary teachers; 

38,532 were lawyers; and 2,726 were news analysts, 

reporters, and correspondents. 

A record number — 9.7 million Latino citizens — reported 

voting in the 2008 presidential election, about 2 million 

more than voted in 2004. More than 1 million Hispanics or 

Latinos 18 years and older are veterans of the U.S. Armed 

Forces. 
viii

National Museum of the American Latino Commission 

Executive Summary 

Today, with 22 percent of the nation’s children living in 

a Latino household, this group will play a vital role in 

renewing the American dream, giving it new cultural 

options. In all their diversity, American Latinos are keeping 

and enhancing fundamental American ideals and values.

CONTRIBUTIONS OF

LATINOS IN EVERY ASPECT

OF AMERICAN SOCIETY

Economics

American Latinos increasingly contribute, in a very 

significant way, to the development of the U.S. economy. 

The buying power of the Latino market in 2009 was $978 

billion — larger than the entire economies (2008 Gross 

Domestic Product measured in U.S. dollars) of all but 14 

countries in the world. The Selig Center for Economic 

Growth report on The Multicultural Economy estimates 

that Latino buying power in 2013 will be $1.3 trillion.

The growth of Latino purchasing power is a significant 

and growing asset of the U.S. economy. Between 1990 

and 2008, the buying power of Latinos increased by 349 

percent — a percentage gain that surpassed both the 141 

percent increase in non-Latino buying power and the 151 

percent increase in the buying power of all consumers. 

According to the Selig Center, the 10 states with the 

largest Latino markets in 2008 were, in order, California 

($249 billion); Texas ($171 billion); Florida ($101 billion); 

New York ($75 billion); Illinois ($41 billion); New Jersey 

($36 billion); Arizona ($31 billion); Colorado ($21 billion); 

New Mexico ($18 billion); and Georgia ($15 billion). 

The top 10 states, as ranked by the rate of growth 

of Latino buying power between 1990 and 2008 are 

Arkansas (1,563 percent); North Carolina (1,314 

percent);Tennessee (1,053 percent); Georgia (1,037 

percent); Nevada (965 percent); Alabama (890 percent); 

South Carolina (797 percent); Minnesota (768 percent); 

South Dakota (768 percent); and North Dakota (755 

percent). 

Latino business owners are another potent economic 

force. Census Bureau data from 2007 showed there were 

2.3 million Latino-owned businesses, up 43.6 percent 

from 2002. 

Historic Contributions

American Latinos have contributed significantly in many 

aspects of American history and culture. 

American Latinos celebrate their indigenous, Iberian, 

African, and Asian roots. The Spanish were the first 

Europeans to interact with the indigenous people in what is 

now the United States. Juan Ponce de León arrived in 1513 

in what is now Florida, after first landing and becoming the 

first Governor of Puerto Rico. The Spanish then founded 

Saint Augustine, Florida, in 1565 — 42 years before 

the establishment of Jamestown. From 1540 to 1542, 

an expedition led by Francisco Vásquez de Coronado 

explored modern-day New Mexico and Arizona, eventually 

travelling as far north as Kansas — 264 years before the 

Lewis and Clark Expedition. These early expeditions led to 

permanent Spanish outposts throughout North America, to 

the founding of cities like Santa Fe and San Francisco (then 

named Yerba Buena), and to the naming of hundreds of 

U.S. rivers, mountains, towns, and even several states. 

Latinos have made the ultimate

sacrifice for the United States

The patriotism of American Latinos cannot be 

questioned. Millions of Latinos have met the challenge of 

serving the nation in war and in peace. In times of war, in 

every battle, on every battlefield, Latinos have put their 

lives on the line to protect American freedoms. 

Latinos have made the ultimate sacrifice of dying for their 

country. Marine Lance Corporal José Gutiérrez was the 

first combat casualty in the war in Iraq. Gutiérrez, born 

in Guatemala, was a permanent resident of the United 

States and left college to join the military. A friend said of 

Gutiérrez, “He wanted to give to the United States what 

the United States gave to him. He came with nothing. 

This country gave him everything.” About half a million 

Latinos served in World War II; 12 were awarded the 

Congressional Medal of Honor. Nearly 150,000 Latinos 

served in the Korean Conflict, and nine were awarded the 

Congressional Medal of Honor. Latinos have served in 

the U.S. Armed Forces in World War I, World War II, the 

Korean War, Vietnam War, and in the Middle East wars. 

Over 25 percent of the 58,195 names on the Vietnam War 

Memorial are Hispanic. 
ix

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Latinos are also making a significant contribution at 

the highest levels of the U.S. military. In 1964 Admiral 

Horacio Rivero, a Puerto Rican, became the Navy’s first 

Latino four-star admiral. General Richard E. Cavazos, 

a Mexican-American, became the Army’s first Hispanic 

four-star general in 1982. He served with the 65th Infantry 

Regiment during the Korean War, earning a Distinguished 

Service Cross in 1953. In 1998 Louis Caldera, a MexicanAmerican and West Point graduate, became the highestranking Latino to hold office in America when he became 

Secretary of the Army. Until 2004, Lieutenant General 

Ricardo Sanchez held the top military position in Iraq as 

Commander of Coalition Ground Forces. His tenure was 

during what was, arguably, one of the most critical periods 

of the war. Highlights during his term as commander 

include the capture of Saddam Hussein. 

Similar stories have been repeated throughout American 

history. Bernardo de Gálvez, military commander 

of Spanish forces in the Caribbean and governor of 

Louisiana, with contingents from Spain, Cuba, Mexico, 

Puerto Rico, and the Santo Domingo, captured the 

British stronghold of Pensacola, Florida. This action 

subsequently enabled George Washington’s forces to 

launch his campaign on Yorktown. 

The Battle of Yorktown, the decisive battle of the 

Revolutionary War, was in great part financed by the 

people of Cuba. America’s first Admiral, David Farragut, 

son of Spaniard Jorge Farragut, also a U.S. military 

veteran, led the naval forces for the Union during the Civil 

War. Farragut is famous for the inspirational line, “Damn 

the torpedoes, full speed ahead.”

Puerto Ricans have participated in numerous military 

conflicts. Puerto Rican troops have been honored as 

among the most valorous in American military history. 

The 65th Infantry Regiment, also known as “The 

Borinqueneers,” was originally activated as the “Porto 

Rico Regiment” in 1899. A 65th Infantry officer ordered, 

and a 65th Infantry Sergeant fired, the United States’ first 

shots of World War I. The Regiment was also involved in 

active combat during World War II. During the Korean 

War, this unit suffered the most casualties. For their 

bravery and military strength, “The Borinqueneers” 

garnered 5 Distinguished Services Crosses, 258 

Silver Stars, 606 Bronze Stars, and 90 Purple Hearts. 

Furthermore, Major General Juan César Cordero Dávila 

was the commanding officer of the 65th Infantry Regiment 

during the Korean War, rising to become one of the 

highest-ranking Latino officers in the United States Army.

American Latinos have also made significant contributions 

as members of Congress, state legislators, mayors, 

commissioners, and councilmen and women and as public 

administrators at the federal, state, and municipal levels

Cultural, Artistic, and Intellectual

Contributions Of U.S. Latinos

In spite of their essential relevance to our country’s 

intellectual and cultural life, a 1994 task force report to 

the Smithsonian Institution found that “U.S. Hispanics are 

the only major contributor to American civilization still 

uncelebrated by any specific, systemic, permanent effort 

in this country’s major cultural institution.” Since the 1994 

report, major efforts within the Smithsonian Institution 

have been undertaken, but a richer and more inclusive 

American story is yet to be told.

The contributions of Latinos in American civic life, 

fine arts, culinary arts, music, sports, entertainment, 

business, and other areas of public life are significant. 

The fulfillment of the American dream is embodied in 

the deeds of generations of American Latinos who have 

proudly celebrated their “Americanism” with fellow 

citizens and residents of this nation.

The new narrative of contemporary America must 

include the stories of the people working the fields 

and gathering the crops for the American dinner table; 

the efforts of the people building and maintaining the 

nation’s infrastructure; and the telling of American 

Latino successes in higher education, business, the arts, 

humanities, sports, government, and entertainment.

.
x

National Museum of the American Latino Commission 

Executive Summary 

The outstanding paintings, sculptures, installations, 

performance art, films and theatre created by American 

Latino artists would constitute a major attraction for 

visitors to an American Latino museum in Washington DC. 

Among the countless possible stories and cultural artifacts, 

the museum could display and interpret the small bedroom 

in which César Chávez endured the 25-day hunger strike, 

“a fast for nonviolence and a call to sacrifice,” to draw 

attention to the plight of farm workers and the need for 

social justice and respect for human dignity. Visitors could 

listen to the master digital recordings of the dozens of 

American Latino music artists who performed “We Are 

the World en Español” for the 2010 Haiti earthquake relief 

effort, see the costumes of their favorite stars, and sing 

their music in specially designed studios. 

The deeds of humanitarians, like baseball Hall of Famer 

Roberto Clemente of Puerto Rico, could be highlighted to 

encourage young people toward a life of service. Museum 

visitors could also enjoy the excellence of Latino cuisine 

and be inspired by stories of leadership and public service. 

They could learn from the business success stories, such 

as those of Cuban-Americans Desi Arnaz, who pioneered 

TV studio filming techniques; and Roberto Goizueta, 

who became worldwide chairman of Coca-Cola. In sum, 

the vibrancy of the American Latino experience, in all its 

manifestations, could be presented to show the great 

range of the human spirit and imagination. 

CONCLUSION

The Congress of the United States acknowledged the 

magnitude of contributions by the American Latino 

community when it established the Commission. The 

Commission engaged the public throughout the country 

in a dynamic dialogue about the idea of such a national 

museum. The museum that is envisioned and outlined in 

this report would be located in Washington DC, among 

the treasury of museums that represent American history, 

culture, and achievement. The benefits of the museum 

would also extend to and derive from local communities, 

Latino museums, cultural centers, and educational 

institutions across the land to make this museum national 

in operational scope, as well as in its place of prominence 

in the nation’s capital.

As the full report illustrates, the United States of America 

would not have achieved the power, prominence, 

and greatness it enjoys today without the immense 

contributions of American Latinos throughout its history. 

One could not imagine today’s American society without 

the richness of Latino culture. All Americans benefit 

from a deeper and fuller understanding of the vital part 

American Latinos have played in our nation’s history and 

their essential role in shaping our future.

It is for these reasons the Commission strongly 

recommends the establishment of a National Museum of 

the American Latino that “illuminates the American story 

for the benefit of all.” 
xi

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

table of contents

Introduction 3

Mission and Vision 7

A New Cultural Ecology 11

Collections and Programs 17

Governance and Organizational Structure 33

Site Assessment: Locations and Facilities 43

Capital and Operating Budget 59

Fundraising Plan 73

Public Engagement 85

Plan for Public Engagement upon Passage

of Legislation 95

Special Thanks 99

Appendix A: Bill cosponsors 115
xii

National Museum of the American Latino Commission 

Executive Summary 

Index of tables

No. Name Page No.

1. Shift between the 20th century and 21st century purpose of museums and libraries 12

2. Summary of options for acquisition strategies 19

3. Summary of options for loan strategies 19

4. The model “Engage the World with Evolving Human Stories” and corresponding programs 21

5. Setting the cultural agenda and corresponding programs 23

6. A broad and diverse public will be engaged through the comprehensive and balanced approach 

recommended for the American Latino museum

24

7. Staff for collection care, exhibitions, public programs, and research 25

8. Order of magnitude space program, April 2010 29

9. Summary of order of magnitude space program with net and gross figures, April 2010 29

10. Comparison of the four governance models 36

11. Pros and cons of each of the four governance models 39

12. Pros and cons for the two final sites 55

13. Cost estimates and preliminary capital budgets for the two final sites 55

14A. Smithsonian American Latino Museum, First six years operating expenses 59-60

14B Smithsonian American Latino Museum, First six years operating revenues 60

15. Capitol Site: preliminary capital budget 61

16. Arts and Industries Building with south annex: preliminary capital budget 61

17. Arts and Industries Building with north annex: preliminary capital budget 61

18. Recommended expenses for a stable-state operating budget 62

19. Examples: operating budgets for nine museums 65

20. Projected operating budget for the American Latino museum 66

21. Overview of spending on collections and programs at relevant institutions 68

22. Estimated annual revenue 70

23. Recommended funding sources for ongoing support of the American Latino museum 81
xiii

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Index of Figures

No. Name Page No.

1. Partnerships of mutual benefit 13

2. Operating in A New Cultural Ecology 14

3. Model A: Smithsonian Institution 38

4. Model B: Museum under independent Federal Entity 38

5. Model C: Independent with Federal Contract and Services 38

6. Model D: Independent National Museum 38

7. Aerial view of the Washington DC monumental core, looking northeast, identifying location of assessed sites 44

8. McMillan Plan of 1901 46

9. Capitol Site and Arts and Industries Building with New South Annex 47

10. Capitol Site plan 48

11. Program distribution, by floor, for the museum at the Capitol Site 49

12. Capitol site before and after construction of the museum 50

13. Arts and Industries Building, looking south, with a new annex 51

14. Arts and Industries Building with a new south annex, site plan 51

15. Arts and Industries Building, looking south, with a new underground annex 52

16. Arts and Industries Building with a new north annex, partial site plan 52

17. Program distribution, by floor, for the museum at the Arts and Industries Building with a new south annex 53

18. Arts and Industries Building before and after construction of the museum and annex 54

19. A total of $303.75 billion for charitable giving nationwide in 2009 79

20. Fiscal year 2008 sources of revenue for the Smithsonian Institution 79

Introduction
Our Lady of Guadalupe Church

Zuni Pubelo

Arturo Alfonso Schomburg

Historian and Educator

Prudencio and Carolina Unanue

Founders of Goya Foods, Inc.

three women

Teodoro Vidal Collection

Rita Hayworth

Actor and Dancer

María Amparo ruiz de Burton

Writer

bracero

Leonard Nadel Collection

Jose Marti

Revolutionary and Poet

Romualdo Pacheco

California’s only Hispanic Governor 
3

 A Report to the President and Congress of the United States

To Illuminate the American Story for All

Introduction

The Commission to Study the Potential Creation 

of a National Museum of the American Latino (the 

“Commission”) was signed into law on May 8, 2008, as 

Public Law 110-229 (S. 2739). The law established a 

Commission of 23 members appointed by the President, 

the Speaker of the House of Representatives, the 

Minority Leader of the House of Representatives, the 

Majority Leader of the Senate, and the Minority Leader 

of the Senate. The Commission members were chosen 

based on qualifications in museum administration, 

expertise in fundraising, experience in public service, 

and demonstrated commitment to the research, study, or 

promotion of American Latino life, art, history, or culture. 

The bill, which received broad support in both chambers 

of Congress, was authored and introduced in the House 

of Representatives by Congressman Xavier Becerra 

of California and in the U.S. Senate by Senator Ken 

Salazar of Colorado, who now serves as Secretary of the 

Interior. Democrats and Republicans in both chambers 

cosponsored the bill. Please refer to Appendix A for a list 

of all Members who cosponsored the bill.

Secretary Salazar, in speaking about the first meeting 

of the Commission, stated: “The National Museum of 

the American Latino Commission is a select group of 

Americans who have been called upon to provide a plan 

for a national museum that preserves and shares a vital 

part of our nation’s heritage for the benefit of all people 

interested in the richness of the American experience.” 

The goal of the Commission was to formulate a plan for 

a sustainable world-class institution whose mission is to 

illuminate the American story — for the benefit of all — 

through permanent collections and programs devoted to the 

presentation, interpretation, and preservation of American 

Latino arts, cultural expressions, and experiences.

The Commission was given two years to conduct its work 

and submit a report. The Commission prepared this Final 

Report containing the technical information needed to 

provide Congress with a foundation for making a decision. 

This Final Report delivers critical information in a timely 

manner to expedite the decision making process. The 

functions of the Commission were to 

•	 submit a report to the President and Congress 

containing recommendations with respect to a plan of 

action for the establishment and maintenance of an 

American Latino museum in Washington DC

•	 develop a fundraising strategy

•	 report on the availability and cost of collections to 

be acquired

•	 examine the impact of the museum on regional 

American Latino-related museums

•	 analyze and recommend possible locations for the 

museum within Washington DC and its environs

•	 recommend whether the museum should be located 

within the Smithsonian Institution

•	 recommend a governance and organizational structure 

for the operation of the museum

•	 engage the American Latino community in the 

development of the museum

•	 determine the cost of constructing, operating, and 

maintaining the museum

•	 draft legislation to carry out a plan of action to create 

and construct the museum
4

National Museum of the American Latino Commission 

Chapter 1: Introduction 

Additionally, the legislation allowed the Commission to convene a national conference on the museum. Instead, 

the Commission chose to engage a broad cross-section of the American public through a series of public forums, 

informational meetings, and social media efforts.

The National Park Service, a bureau of the Department of the Interior, provided the administrative support for the 

project through its staff in the Washington DC Office and the Denver Service Center. 

This Final Report to Congress will be submitted to the 

•	 President of the United States

•	 Committee on Transportation and Infrastructure of the House 

of Representatives

•	 Committee on House Administration of the House of Representatives

•	 Committee on Rules and Administration of the Senate

•	 Committee on Natural Resources of the House of Representatives

•	 Committee on Energy and Natural Resources of the Senate

•	 Committees on Appropriations of the House of Representatives and 

the Senate

The Commission’s findings and recommendations are included within this Final Report, which represents a summary of 

the information gathered and the analyses made in the course of this effort. 
Mission and Vision
ELLEN OCHOA

Astronaut, Physicist, Inventor

CHITA RIVERA

Actress, Dancer, Singer

TANYA LEÓN

Composer and Conductor

LUIS VALDEZ

Playright, Director, Producer

JOSEPH UNANUE

Businessman and Philanthropist

CHRISTINA GARCÍA

Writer

HUGO MORALES

Broadcater and Indigenous Community Leader

LINDA ALVARADO

Entrepreneur

JULIA ALVAREZ

Writer
7

 A Report to the President and Congress of the United States

To Illuminate the American Story for All

MISSION AND VISION

introduction

The Mission, Vision, and Programs Committee laid the 

foundation for the American Latino museum with the 

following mission and vision statements, which were 

adopted by the Commission in December 2009. 

First, it is important to note two points: 

1. The mission and vision articulated and adopted by 

the Commission affirm core values and principles that 

widely resonate with the American Latino museum 

professionals who were interviewed. 

2. The current mission and vision statements 

contain working language that may evolve as the 

museum progresses.

Mission Statement

The National Museum of the American Latino illuminates 

the American story for the benefit of all. 

Vision Statement

A compelling fact of the 21st century is that the United 

States is a diverse society, and that all people of this 

nation constitute the American identity. We must retrieve, 

record, preserve, and share the multifaceted story of 

this nation so that we fully recognize our cultural 

resources as one of our greatest national assets. In doing 

so, the story of the American Latino will become selfevident and fundamental to the overall American context 

and framework. 

The American Latino museum will provide a unique lens 

focused on popular, historic, and contemporary Latino 

contributions specifically produced and originating 

in the United States and its territories. Focusing on 

American Latino history, popular culture, values, and 

creative expressions that occur within the United States 

and its territories will help ensure the American Latino 

museum does not overshadow or duplicate the work 

of other existing American Latino museums around the 

country. The distinct curatorial and collecting focus of 

the National Museum of the American Latino, and that of 

other existing American Latino museums, provides ample 

opportunity for strategic partnerships and permanent 

collection loans.

The National Museum of American Latino is an important 

and long-awaited vehicle that shares the complex and 

evolving story of the American Latino. Throughout 

the nation, the nexus of the various American Latino 

communities provides fertile ground for cultural 

exchange, interaction, and creative expression. The 

museum will also explore the ongoing connection 

between the American Latino experience and those of 

other cultures of the United States and its territories. 
8

National Museum of the American Latino Commission 

Chapter 2: Mission and Vision

PURPOSE of AND need for 

the American Latino museum

Among the purposes of the museum, one is to provide a home for the 

historical artifacts, images, and personal stories documenting more than 500 

years of Latino contributions to the United States. The museum will serve as 

an educational resource for the millions of anticipated visitors. The museum 

will play a key central role within a national network of American Latino 

museums and cultural centers that will extend the benefits of the arts and 

culture throughout the nation.

There is a need to address the highly diverse Latino cultures in the United 

States. This diversity stems from historical and geographical influences. The 

cultural fusions that occur when different groups interact, a core theme of the 

human experience, are found in richness of the story of the American Latino.

The American Latino museum can provide a forum that illuminates the 

complexity of the American story. As a result, the overall American identity 

can be fully recognized, experienced in a new light, and embraced.

The Commission recognizes that the American Latino museum needs to

•	 exist as a signature space to present and interpret the diversity and impact 

of Latinos in the United States 

•	 reflect the depth and breadth of the diverse American Latino 

cultural experience

•	 appeal to a general audience with a wide array of learning needs and styles

•	 include performance spaces, considered a core component, to 

complement popular culture, visual arts, and contemporary issues 

•	 provide spaces for serious scholarship and school programs and a range of 

fun and engaging public programs 

•	 offer significant community programs, national initiatives, and partnerships 

•	 construct learning spaces

•	 provide a diverse collection in scope, composition, and media

Right Reverend 

Leo Frade 

Bishop of the Episcopal

Diocese of Southeast Florida

“Throughout the times we have 

managed to be down and move 

up. All religions have helped the 

Latino community go through very 

difficult times and kept the Latino 

roots together.

We are here to do something better 

for our children. It doesn’t matter 

what kind of work we do, we want 

our sons and daughters to have a 

better education and get farther than 

we could. We bring to this country a 

tremendous desire to work, and we 

have the strength to not give up and 

stand up whenever we fall. We need 

to show this in the museum. We come 

here to make the American dream 

come alive.”
A New Cultural Ecology
RICARDO ALEGRÍA

Cultural Anthropologist and Archeologist

ANTONIA NOVELLO

Physician and Public Health Official

JUAN ROMAGOZA

Physician and Public Health Advocate

JUDITH BACA

Artist, Educator, Activist

DOLORES HUERTA

Labor Leader and Social Activist

PEPÓN OSORIO

Artist

TEODORO VIDAL

Folklorist, Historian, Collector

JUNOT DÍAZ

Writer

VICTOR VILLASENOR

Writer
11

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

A New Cultural Ecology

Introduction

The American Latino museum will inform the design, scope, approach, and 

delivery of overall programs, including the permanent collection, making the 

museum distinct from all others. The most pronounced point of differentiation 

is a curatorial lens that will illuminate American Latino stories occurring 

within the United States and its territories. Also distinct will be the museum’s 

fundamental connection to highly dynamic and evolving American Latino 

communities and existing cultural institutions. 

Exploring the creation and development of the American Latino museum 

was conducted knowing the museum will enter an existing cultural ecology of 

highly dynamic museums, cultural and research institutions, artist collectives, 

and private-sector resources that also share a commitment to expanding 

awareness and appreciation of American Latino culture and experience. 

The development of the distinct mission and aperture of the American Latino 

museum was intentional — its curatorial focus is different from that of other 

national institutions. 

The framework and approach described in this section emerged from the 

feedback gathered by the Commission during public forums around the 

country; in partnership meetings with directors and collections experts of 

existing organizations; at a forum with museum professionals held at the 

American Association of Museums’ annual conference on May 23, 2010; and 

through the expertise of the consulting team in planning national museums. 

The framework and approach are also supported by the recent work of the 

Institute of Museum and Library Service, published in “Museums, Libraries 

and 21st Century Skills.” The report articulates the “move toward networked 

civil society institutions.” Table 1 (taken directly from the report but 

reformatted) describes this 21st century shift in museums and libraries. It is 

the Commission’s hope that the new American Latino museum will have the 

opportunity to further expand on what a 21st century museum can be. Hence, 

the recommendation for a different and interdependent approach is not born 

from a purely technical lens, but from a sense in the field that it is time to do 

something necessary and distinct to establish cultural practices that embrace 

shared authority and co-created and interpreted content. 

Dana Ste. Claire

Executive Director, 

St. Augustine 450th 

Commemoration 

Commission

“We are approaching almost 500 

years of unbroken history. It is very 

important when you are telling the 

story of a people, however lengthy 

the story is, that you start at the 

beginning. There are significant parts 

of American history that have been 

left out because of how it has been 

written over the years. It is imperative 

that the story of America include the 

rich history of Hispanics, beginning 

with Juan Ponce de Leon’s landing in 

La Florida in 1513 and the founding 

of St. Augustine, the nation’s oldest 

continuously occupied European 

settlement, in 1565 by Don Pedro 

Menendez de Aviles — indeed, this 

was First America. The Hispanic 

peoples have played a principal 

role in the cultural and historical 

development of our nation and the 

founding of our nation; symbolically, 

this is a very powerful story to tell 

and statement to make.”
12

National Museum of the American Latino Commission 

Chapter 3: A New Cultural Ecology

TABLE 1. SHIFT BETWEEN THE 20TH CENTURY AND 21ST CENTURY PURPOSE OF MUSEUMS AND LIBRARIES

20th Century Museum / Library 21st Century Museum / Library

Primarily content driven Combination of audience and content driven

Mostly tangible objects (art, books) Combination of tangible and digital objects

One-way information (institution presents

information to audiences)

Multidirectional (co-created experiences involving institution, 

audiences, and others)

Focus on presentation and display Focus on audience engagement and experiences

Emphasis on enhancing knowledge Emphasis on enhancing knowledge 

and 21st century skills

Acts independently Acts in highly collaborative partnerships

Located in community (operates independently) Embedded in community (aligned with and acts as a leader on 

community needs/issues)

Learning outcomes assumed, implied (content knowledge 

and skills, such as critical thinking, tend to be byproducts of 

programming)

Learning outcomes are purposeful (content knowledge and 21st 

century skills, such as critical thinking, are visible, intentional 

outcomes of audience experiences)

Institution leads content development (content tightly edited and 

controlled)

Content co-created among diverse partners and audiences; 

accessible in multiple ways

FROM THE FIELD: 

A UNIQUE OPPORTUNITY

The research that underlies the strategic approach 

to conceiving and developing the American Latino 

museum’s programs and permanent collection has 

been carried out in a systematic and credible way. 

The methodology incorporates data and input from 

existing cultural resources, as well as issues, feedback, 

and data received during on-site interviews conducted 

with directors, curators, collection managers, and 

other leaders at 21 institutions that focus exclusively 

on, or have significant holdings in, American Latino 

arts and culture. Feedback from these opinion leaders 

and potential future collaborators was consistent and 

dominated by four core messages. 

Core Message 1: Existing institutions are enthusiastic 

about collaboration with the American Latino museum, 

from collection and exhibition development to 

programming, research, and training.

Core Message 2: The purpose of the American Latino 

museum should be to advance research and scholarship 

to augment the field and, ultimately, benefit the 

American people.

Core Message 3: The American Latino museum must be 

progressive and advance cultural exchange.

Core Message 4: To succeed in meeting its goals, the 

American Latino museum would have to be an entirely 

new model that unites the field and takes the funding 

needs of existing organizations into consideration.

The museum will be positioned within an existing 

and dynamic network of museums and cultural and 

educational institutions. The inner ring on figure 1

illustrates how the American Latino museum will engage 

and augment the field. The outer ring on figure 1

represents examples of a broad community with which 

the museum will partner. The museum envisions providing 

a range of expressions — virtual, on-site, and off-site 

experiences — throughout the country.
13

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Community

Network

National 

Museum 

of the 

American 

Latino

Libraries and

archives

Colleges, 

universities, 

and research 

organizations

Museums 

that share 

Latino 

stories

Cultural 

centers and 

community 

programs

FIGURE 1. PARTNERSHIPS OF MUTUAL BENEFIT

The museum will help advance the national cultural discourse within 

an existing community of other national museums. In addition, the 

museum is positioned to initiate research and consultations to establish 

underrepresented subject areas and emerging issues in different areas of 

American Latino cultural life and study. These could include, for example, 

the documentation and prioritization of challenges facing American 

Latino museums; emerging hybrid cultural forms; and intra-Latino, 

intercultural, and transnational trends and dynamics. The museum would 

convene and/or facilitate forums to explore issues, provide leadership 

in communicating creative solutions, and receive valuable input from 

museum colleagues regarding issues, patterns unique to other regions, or 

context. This does not imply that the museum would become a centralized 

“hub” or a homogenizing force; rather, it would facilitate a national cultural 

discourse in a networked society.

Artists

Educators

American

Public

International 

Visitors

Scholars

Students

Collectors

Esperanza “Hope” 

Andrade

Texas Secretary of State

“It is not about us today — it is about 

making sure we protect the culture 

and history for the children in the 

future. As the first Latina secretary of 

state, I am most proud of the role that 

Hispanics have played in Texas history, 

and I believe that this museum that is 

being discussed will highlight the many 

contributions to this nation and will 

play a significant role in furthering the 

impact that Latinos will continue to 

make in our state and our nation in the 

years to come.” 
14

National Museum of the American Latino Commission 

Chapter 3: A New Cultural Ecology

Figure 2 shows that the museum will be a dual-purpose 

institution whose programs will reinforce and build 

upon one another. The American Latino museum can 

be a nexus to advance an ongoing cultural discourse. It 

can also reveal the complex and evolving story of the 

American Latino and the connection among American 

Latino communities and other cultural communities of the 

United States. In doing so, it will provide fertile ground for 

cultural exchange, interaction, and creative expression.

The museum will share the American story through 

the Latino lens, with the recognition that there is not 

one story, but rather, the American Latino “voice” is a 

collection of voices that are constantly changing and 

evolving. These voices vary with ethnicity, gender, region, 

perspective, art form, discipline, class, and religion. This 

diversity of voice is exciting, expressive, and enriching, 

and there should not be any effort to homogenize it. The 

museum is expected to be a cultural laboratory that is 

in constant dialogue to make connections that currently 

do not exist. The result will be a museum that does not 

collect solely to preserve but to illuminate and share 

evolving human stories that promote cultural exchange.

The next chapter, Collections and Programs, carries 

forward the concept of A New Cultural Ecology through 

innovation and excellence in programming that will 

broaden and diversify audiences and deepen personal 

connections to the themes explored in the museum. 

The museum’s permanent collection will account for 

the full spectrum of American Latino experiences that 

occur within the United States and its territories and will 

showcase the distinguished contributions and impact of 

Latinos in all aspects of American life. 

FIGURE 2. OPERATING IN A NEW CULTURAL ECOLOGY

Forward a 

National 

Latino Cultural 

Discourse

Engage the 

Public with 

Evolving Human 

Stories

National 

Museum of the 

American Latino

Pilar Marrero

Senior Writer for La Opinión

“The museum should represent the diversity of Latinos in this country. We come from different places, 

different countries, and different origins. Some of us come from indigenous backgrounds, some of us 

are descendants from immigrants in Latin America that then immigrated here. It should be a place that, 

when people and visitors come out, they can understand that we are not monolithic; and that we have 

different facets, many different cultures, with many different expressions—art, culture, music, food, and 

even journalism. The history of Spanish language media is very important to this community and should be 

included in this museum; they help educate and inform immigrants in this nation. When we come to this 

country, we become part of something bigger; we become Latinos and incorporate other Latino 

cultures into our own, and it is very important to highlight this.” 
COLLECTIONS AND PROGRAMS
Joseph H. De Castro, Army, Corporal • David B. 

Barkley, Army, Private • Lucien Adams, Army, Staff 

Sergeant • Rudolph B. Davila, Army, First Lieutenant 

• Marcario Garcia, Army, Staff SergeanT • David

Gonzalez , Army, Private First Class • Silvestre 

Herrera Army, Private First Class • Jose M. Lopez, 

Army, Sergeant • Joe P. Martinez, Army, Private • 

Manuel Perez Jr., Army, Private First Class • Cleto L. 

Rodriguez, Army, Private • Alejandro R. Ruiz, Army, 

Private First Class • Jose F. Valdez, Army, Private 

First Class • Ysmael R. Villegas, Army, Staff Sergeant 

• Rodolfo P. Hernandez, Army, Corporal • Martinez 

Benito, Army, Corporal • Joseph C. Rodriguez, Army, 

Sergeant • John P. Baca, Army, Specialist Fourth 

CLASS • Roy P. Benavidez, Army, Master Sergeant • 

Daniel Fernandez, Army, Private First Cl • Carlos 

Lozada, Army, Private First Cl • Alfred V. Rascon, 

Army, Specialist Fourth Class • Louis R. Rocco, 

Army, Warrant Officer • Euripides Rubio, Army, 

Captain • Hector Santiago-Colon, Army, Specialist 

Fourth Cl • Elmelindo Rodrigues-Smith, Army, 

Sergeant First Class • Humber Roque Versace,

Army, Captain • Maximo Yabes, Army, First Sergeant 

• Phillip Bazaar, Navy, Ordinary Seaman • John 

Ortega, Navy Seaman • France Silva, Marine 

corps, Private • Harold Gonsalvez, Marine corps, 

Private First Class • Fernando Luis Garcia, Marine 

corps, Private First Class • Edward Gomez, Marine 

corps, Private First Class • Ambrosio Guillen, 

Marine corps, Staff Sergeant • Baldomero Lopez, 

Marine corps, First Lieutenant • Eugene Arnold

Obregon, Marine corps, Private First Class • Emilio 

A. De La Garza, Marine corps, Lance Corporal • 

Ralph E. Dias, Marine corps, Private First Class • 

Alfredo Cantu Gonzalez, Marine corps, Sergeant 

• Jose Francisco Jimenez, Marine corps, Lance 

Corporal • Miguel Keith, Marine corps, Lance 

Corporal • Jay R. Vargas, Marine corps, Major
17

A Report to the President and Congress of the United States

To Illuminate the American Story for All

COLLECTIONS AND PROGRAMS

Introduction

Museums and Cultural Exchange

Museums are now places where ideas are presented and 

contested. They are agents and forecasters of change in 

society. As the expansive and multilayered universe of 

Latino stories continues to evolve, the American Latino 

museum is positioned to make contributions to and help 

the advancement of the museum field. Most importantly, 

the museum can assist the American public as it navigates 

its claim, or disclaim, of the many cultures it sees reflected 

in the national mirror.

The American Latino museum will offer a forum that 

shares the complex and developing American story as 

it illuminates those of the American Latino. Throughout 

our nation, the nexus of various communities can provide 

fertile ground for exchange, interaction, and creative 

expression. The museum will not only explore the 

complexity of the Latino experience in this country, it will 

also explore the ongoing connection between American 

Latino experiences and those of other cultures of the 

United States and its territories. As a result the overall 

American identity can be fully recognized, experienced in 

a new light, and embraced.

WHAT IS A NATIONAL MUSEUM?

There are three primary characteristics that define a 

permanent collection program or museum as national: 

(1) the museum is collecting permanent holdings for 

the nation, (2) the permanent collection is inclusive and 

representative, and (3) the permanent collection serves a 

global audience. 

The following are guidelines for defining a national museum: 

•	 The policy and practice of the museum should be 

to collect a range of objects of national scope and 

importance and associated information in its particular 

fields, and these collections should be subject to 

appropriate standards of care.

•	 It should already have a substantial collection in 

relation to its stated objectives, and the museum 

display policy should reflect the full range of 

its collections.

•	 It should be able to provide professional and 

authoritative expertise and advice over its whole field 

to the public, to other museums, and to national and 

local government.

•	 It should provide study and research facilities for 

the public.

•	 It should offer visitor services of a quality 

appropriate to a museum purporting to provide a 

national facility.

These characteristics are useful in helping create and 

draft a formal permanent collection policy, including but 

not limited to care and maintenance, acquisition, and 

deaccessioning components.
18

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

PERMANENT COLLECTION

The development of a formal permanent collection program will be a core 

program of the American Latino museum. A permanent collection will allow 

the museum to retrieve, record, preserve, and share the multifaceted story 

of this nation as it recognizes American Latino cultural resources as another 

significant asset for the American public. 

Research conducted for this report reveals that there exists, in a variety 

of collecting institutions, a great wealth of historical, cultural, and artistic 

material relating to the history, contributions, culture, and experiences of the 

American Latino. A significant amount of this material is currently in storage 

at leading repositories throughout this nation, including the Smithsonian and 

Library of Congress. The research also reveals that most museum directors 

think their collections are only the tip of the iceberg — that there are many 

materials (primarily objects of social, cultural, and historical value) that have 

not been collected.

Most institutions have rich collections in Mexican, Puerto Rican, and 

Cuban art, but there are many gaps that will need to be filled. A major task 

for the American Latino museum will be to identify, research, and collect 

materials from undocumented and/or underrepresented areas of Latino 

history and culture. 

Museum permanent collections exist to support the museum’s mission 

and further its vision. Based on the mission and vision of the American 

Latino museum, articulated above in the “Mission and Vision” chapter, it is 

recommended that the categories of collections under consideration for the 

permanent collection include the following: 

•	 works of art 

•	 ethnographic holdings

•	 industrial and social history artifacts 

•	 archaeological holdings 

•	 archival materials and documents

Curatorial personnel, whose expertise aligns with the collecting scope, 

will determine identification of the specific permanent collection holdings. 

Staffing plans and a related timeline will be established to coincide with 

permanent collection planning and implementation.

Table 2 summarizes options for acquiring collections, and table 3

summarizes various loan strategies. It is expected that the American Latino 

museum will use all of these approaches in combination.

LATINO ART NOW! 

CONFERENCE

Latino Art Now! 

The Latino Art Now! is a biennial 

conference and national forum for 

artists, art professionals, educators, 

scholars, critics, and art dealers. 

Through dialogue in roundtables and 

workshops and the presentation of 

academic scholarship, the conference 

examines the contemporary state of 

Latino art in the United States, the 

valuation of Latino art within a global 

context, and the cultural forces that are 

presently shaping its future. 

Paul Sierra, El Trovador, Lithograph, 

2010. For the New Wave / La Nueva 

Ola, the Third Biennial National 

Conference of Latino Art Now!
19

A Report to the President and Congress of the United States

To Illuminate the American Story for All

TABLE 2. SUMMARY OF OPTIONS FOR ACQUISITION STRATEGIES

Acquisition 

Strategy

Item Types Possibilities for 

the American Latino Museum

Public Call Books, furniture, clothing, textiles, photographs, 

popular culture, ephemera (collectable items that 

were originally designed to be short-lived, such as a 

ticket stub or movie pass), archival material, 

and documents

General public, individuals, and families

Gifts

Private Gifts Works of art, popular culture, personal and scholarly 

papers, industrial and social history artifacts, films, 

video, archival material, and documents

Private: individuals, families, scholars, artist collections, 

public servants, organizations, corporations, and 

foundations

Deaccessioning Industrial and social history artifacts, material 

of regional importance, archaeological artifacts, 

archival material and documents, and limited-edition 

print collections

Institutional: first-voice museums, non-ethnic major 

museums, libraries, archives, public agencies, and offices

Purchase/Commission

Outright Rare objects or collections, “signature experience” 

commissioned artwork, collectable ephemera, 

archival material, and documents

Early and mid-career artists, established artists, private 

collectors, art dealers, and auction houses

Collection Sharing Master artworks, commissioned artwork, cultural 

artifacts, archival material, and documents

First-voice museums, non-ethnic major museums

Field Research Oral histories, intangible heritage, films, 

and video

Individuals, students, families, scholars, public, artists, 

servants, and organizations

TABLE 3. SUMMARY OF OPTIONS FOR LOAN STRATEGIES

Acquisition 

Strategy

Item Types Possibilities for 

the American Latino Museum

Long-term Loans Master artworks, industrial and social history artifacts, 

archaeological artifacts, archival material, and documents

First-voice museums, non-ethnic major 

museums, libraries, archives, and universities

Short-term Loans Master artworks, industrial and social history artifacts, 

archaeological artifacts, archival material, and documents

First-voice museums, non-ethnic major 

museums, libraries, archives, and universities

Content Alliances Master artworks, industrial and social history artifacts, 

installations, collections that support temporary exhibitions, 

archival material, and documents

First-voice museums, non-ethnic major 

museums, libraries, archives, and universities
20

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

Programming Strategy

A permanent collection is one part of the equation 

for providing a life-enhancing experience — programs 

complete the equation. The evolution of cultural 

institutions, from primarily object-centered to 

audience-centered, has made the role of programming 

increasingly vital to the core activities of museums. 

The most successful museums, by and large, are those 

that recognize that a permanent collection, while 

incredibly important, is one program of a comprehensive 

and dynamic list of program offerings. In addition to 

enabling museums to fulfill their mission, excellence 

in programming broadens and diversifies audiences, 

deepens personal connections to the themes explored 

in the museum, drives repeat attendance, builds 

membership, and increases length of stay. 

The American Latino museum will provide comprehensive 

program offerings designed to share a range of complex 

stories that, together, will illuminate what it means to 

be American Latino in the past, present, and future. 

To remain relevant, the museum will be attuned to 

the balance among preservation, interpretation, and 

discovery. In this way the museum can engage a spectrum 

of American Latino voices, stories, occurrences, public 

life, popular culture, and experiences that occur over 

time. In doing so, the museum’s overall programs will also 

expand the view of and connection to other cultures of 

the United States, its territories, and the world in which 

we live.

The program framework for the American Latino museum 

will be created and configured to be receptive and 

adaptive to changes, such as pivotal changes in society, 

introduction of new forms of expression, and/or viable 

challenges to current or historical assumptions. The 

museum seeks to present multiple perspectives affecting 

production and popular artifacts produced in the United 

States and its territories that can more accurately reflect 

the complexity and depth of the American Latino stories.

Today, museum programs can be broadly categorized as 

educational, social, or community driven, with the best 

programs exhibiting innovative crossover among all three 

areas. The programming strategy for the American Latino 

museum was designed around two basic models, or 

functions, to capture those broad categories of innovative 

museum programming. The two models are “Engaging the 

World with Evolving Human Stories” and “Forwarding the 

National Discourse.”

Engaging the world with evolving 

human stories

The recommended approach to programming is to drive 

cultural exchange, celebrate the diversity and hybridity of 

Latino culture, and provide a platform for exploring issues 

that connect all Latinos, such as transnationalism and 

the preservation of cultural heritage. It is recommended 

that the American Latino museum focus on telling human 

stories, such as stories of family, creativity, migration, love, 

work, friendship, and patriotism. 

alberto m. carvalho

superintendent miamidade county public schools

“The power of America is its diversity, the fact that we have advanced so much over the past 200 years. 

The contributions to the fabric — the tapestry — of America have been from that point provided by 

our Latino community across America. The day has come to celebrate that new color of America, to 

celebrate the contribution of Latinos and Hispanics across our great country. What better way to do 

that, than memorialize it through a museum in our nation’s capital.”
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

The museum’s strength will be in contextualizing and 

setting in motion conversations about the interweaving 

and interaction of Latino practices, such as (a) among 

Latino groups, (b) with other U.S. cultural expressions, 

and (c) with Latin American countries of origin. In this 

sense the museum departs from a traditional paradigm 

of representation that assumes the discreetness of each 

ethnic experience and the static and stable capture 

of cultural objects in time and space. Instead, the 

American Latino museum will seek to cross annotate, 

cross reference, and argue for the dynamic fluidity of the 

“Latino” as an evolving American story in the making — 

ancient but incomplete. The model, “Engage the Word 

with Evolving Human Stories,” includes presenting stories, 

supporting learning, and driving cultural exchange. These 

activities map to the museum’s exhibition, education, and 

public programs as shown in table 4 below.

Education and public programs encompass activities that 

increase public understanding and involvement with the 

core mission and vision of the museum. The incorporation 

of various humanities, performing arts, and relationships 

to disciplines (such as history and sciences) is central 

to successful education and public programs and the role 

of engaging the public in key ideas. 

Education Programs 

This category of activity will provide inspiring programs 

for social, entertainment, and/or scholarly purposes 

and materials and activities for schools and students 

at all levels. The American Latino museum will play a 

pivotal role in the development and dissemination of 

resources to support teaching and promote lifelong 

learning, and each program will be developed with a clear 

target audience in mind. Audiences will include middle 

and high school students from around the nation and 

undergraduate and graduate students, teachers, adults, 

seniors, families, and visitors from the United States and 

abroad. The museum’s programs can incorporate 8th 

grade American History requirements that are taught 

throughout the country and can include field trips to 

Washington DC.

Education programs will consist of 

•	 curriculum-linked programs 

•	 mobile exhibitions and off-site programs 

•	 teacher training 

•	 internships 

•	 youth programs

•	 guides and interpretive materials 

TABLE 4: THE MODEL “ENGAGE THE WORLD WITH EVOLVING HUMAN STORIES” AND CORRESPONDING PROGRAMS

Engage the World with Evolving Human Stories Corresponding Programs

Preserve and present the stories of national significance •	 Exhibition programs

•	 Core exhibitions

•	 Changing and traveling exhibitions

•	 Online exhibitions and access to the permanent collection

•	 National preservation program

Develop and disseminate resources 

to support teaching and learning

Education programs

•	 Curriculum-linked programs

•	 Mobile exhibitions and off-site programs

•	 Teacher training

•	 Internships

•	 Youth programs

•	 Educational guides and interpretive materials

Drive cultural exchange through innovative programming Public programs

•	 New ideas: a national festival

•	 “Conversations”

•	 Music, film and performance

•	 Culinary traditions

•	 Intergenerational and social programs

•	 International exchange and residencies

•	 Family Sundays

•	 Youth Ambassadors / YouthSpeak
22

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

Public Programs 

Innovative cultural programming will be essential for the American Latino 

museum to attract the public and help 

•	 facilitate cultural exchange

•	 give the public a sense of ownership

•	 fill voids in national cultural programming in the American Latino community 

to promote intergenerational and cross-disciplinary opportunities

•	 drive attendance

The American Latino museum will offer public programs such as 

“New Ideas: A National Latino Festival” — a national festival that 

connects people with emerging trends, new work by Latino scholars, and 

institutions in their region — this would be groundbreaking. The festival could 

coincide with the Hispanic Heritage Month (September 15 – October 15). 

“Conversations” — one of several talk shows on a museum sponsored 

Internet radio program that explores multiple ways of examining, interpreting, 

and presenting concepts that underscore the museum’s overall focus, 

programs, and related cultural work.

Music, Dance, Theatre, Film, and Other Performance — the museum 

could host concerts, performances, and festivals that highlight the traditions 

of individual cultures and celebrate their contributions to the nation. Poetry, 

comedy, and the spoken word are also important because they have the 

power to transcend political divisions. 

Culinary Traditions — the museum will have the ability to incorporate the 

culinary arts into the visitor experience, thus making it more immersive and 

memorable. The best example of a museum café is the Mitisam Café at the 

National Museum of the American Indian.

Intergenerational and Social Programs — the museum could sponsor 

special days and events to draw a broad constituency to the museum as a 

means for the 21st century family to find activities that bring them together 

and take advantage of opportunities to both inform and entertain. One 

such successful program is First Saturdays at the Brooklyn Museum, which 

features family programming throughout the day and culminates in a dance 

party at night. It attracted over 10,000 people in a few months. 

national and International Exchange and Residencies — one of the 

Commission’s objectives of the museum’s programming is to provide “a 

point of intersection and engagement between and among the American 

Latino and Latin America.” 

Family Sundays — free family programming to attract, involve, and 

strengthen highly diverse families through interactive, intergenerational, 

and cross-disciplinary programs. 

Amaris Guzmán

Dominican American 

National Roundtable 

‘“As a young Latina I am very proud 

that this museum will portray the 

culture and Latino life here in the 

United States. This museum should 

represent a little bit of everything 

— culture, music, photographs, 

exhibits, the people, and everyday 

life of the American Latino here. 

The museum should be located 

in Washington DC, just because 

it is the hub of the United States 

that represents a little bit of 

every single state throughout the 

country.”
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Youth ambassadors / youth speak — a training 

program designed to train high school students during 

the summer months. The selected students are trained 

in contemporary expressive forms, the creative thought 

process, public speaking, and team building, as well 

as cultural history and awareness from various other 

cultural perspectives. 

FORWARDing THE NATIONAL DISCOURSE

Collections, public programs, and education programs 

provide the core attractions for visitors to the American 

Latino museum, but the museum has a deeper mission — 

forwarding the national discourse regarding contributions 

of Latinos to society. One of the most compelling arguments 

for building the museum is the need to advance scholarship 

and preservation. Considering that responsibility, the new 

museum must offer a (a) centralized national repository 

of Latino permanent collection and archives, (b) national 

publishing program, (c) system for identifying new ideas 

in the field and research priorities, and (d) a forum for 

convening leaders.

The museum’s research center would have the ability to fill a 

gap in the field and provide leadership that is both needed 

and desired. The combined activities of the center would 

set the national American Latino cultural agenda. Table 5

demonstrates what is meant by “setting the cultural agenda” 

and the programs that could be incorporated under the 

management of this research center.

Library and Archives

It is strongly recommended that the American Latino 

museum develop the definitive library and archive that 

make the less tangible resources accessible to scholars, 

curators, and the general public. Those resources 

include key research papers, oral stories, photographic 

collections, collections of moving images, rare or limitededition publications, individual papers/artifacts, and other 

key archival and ephemeral materials in diverse media.

Symposia and Conferences

This would be a great vehicle for the museum to help 

generate new research and theoretical frameworks for 

understanding American Latino history and culture. 

The museum could offer other important events and 

activities such as hosting public forums, supporting 

research and publications, and developing a program to 

provide direct funding (grant making and fellowships) to 

support initiatives. 

PROGRAMS TO PRODUCE REVENUE

A retail program provides a way for museums to earn 

revenue, in addition to offering public engagement and 

education opportunities. While a museum gift shop 

often purchases wares that augment concepts of an 

exhibition on view, the gift shop can also offer wares 

that help share the unique mission and vision of the 

museum. The retail program for the American Latino 

museum will include both an on-site and on-line retail 

program in order to capture a broad public. 

Renting museum facilities is another way museums earn 

revenue. The American Latino museum will likely have a 

multipurpose flexible-use facility, with capacity to seat 

a minimum of 500 individuals, while hosting a portable/

moveable stage with the ability to host 15-piece 

performing groups. The museum may have a 99-seat 

intimate film-screening room that can also host artist 

talks or intimate panel discussions. General conference 

and education facilities can also be rented. 

TABLE 5: SETTING THE CULTURAL AGENDA AND CORRESPONDING PROGRAMS

Setting the cultural agenda Corresponding Programs

Consulting the field to identify needs •	 Library and archive

Forward dialogue on underrepresented areas and emerging issues •	 Symposia and conferences

Convening leaders to develop solutions •	 Public forums

Catalyze and support research, preservation, and initiatives •	 Research and publications

•	 Intermuseum collaborations

•	 Shared virtual databases

•	 Fellowships and grants
24

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

ENGAGING A DIVERSE PUBLIC

The highest quality permanent collection and 

innovative, exciting programs envisioned for the 

American Latino museum will, indeed, spotlight the 

museum’s unique vision as it becomes part of a new 

cultural ecology. Its curatorial focus is truly unlike that 

of other national institutions, and it will draw audiences 

from around the world.

Ultimately, the museum will be judged by what kind 

of experience visitors receive. As with other national 

museums, the largest community that will be engaged 

is a highly diverse and broad public, several million 

of whom will visit the American Latino museum’s 

exhibitions and partake in its comprehensive public 

programs. Table 6 summarizes the wealth of programs 

the museum will offer. The public activities are expected 

to be innovative and robust, including permanent and 

temporary exhibitions; a heavy schedule of cultural 

programming for families, students, and adults; 

coordinated national festivals; and virtual programming 

that can connect anyone to the themes of the exhibits 

and resources in the museum. 

The museum’s collections and programs, combined 

with a solid governance structure (discussed in the 

next chapter), will lay the foundation for the long-term 

success of the American Latino museum.

Engage the World with Evolving Human Stories The American Public The Field

Core exhibitions x x x x x x x x x x x

Changing and traveling exhibitions x x x x x x x x x x x

Online exhibitions and access to collections x x x x x

National preservation program x x x x x x x x x

Curriculum-linked programs x x x

Mobile exhibitions and off-site programs x x x x x

Teacher training x x x

Internships x x x x x x x

Youth programs x x

New Ideas: A National Festival x x x x x x x x x x x

Music, dance, theatre, film, and other performances x x x x x x x x x x

Culinary traditions x x x x x x x x

Intergenerational and social programs x x x x x x x x

National and international exchange and residencies x

Forward the National Discourse

Libraries and archives x x x x x x

Engaging the field x x

Public forums x x x x x x x x x x x

Research and publications x x x

Fellowships and grants x x x

Shared virtual databases x x x x x x x x x x x

Internet Radio x x x x x x x x x x x

TABLE 6. A BROAD AND DIVERSE

PUBLIC WILL BE ENGAGED THROUGH

THE COMPREHENSIVE AND BALANCED

APPROACH RECOMMENDED FOR THE

AMERICAN LATINO MUSEUM
25

A Report to the President and Congress of the United States

To Illuminate the American Story for All

TABLE 7. STAFF FOR COLLECTION CARE, EXHIBITIONS, PUBLIC PROGRAMS, AND RESEARCH

Museum Collections 

/ Percenta

Exhibitions 

/ Percenta

Public

Programs

/ Percenta

Research 

/ Percenta Totalb StaffTotal

(FTEs)

United States Holocaust 

Memorial Museum

400

National Museum of American History 51 /22% 71 / 30% 62 / 26% 30 / 13% 214 / 90% 237

National Museum 

of the American Indian

37 / 13% 32 / 11% 94 / 32% 22 / 7% 185 / 63% 295

National Museum of African American 

History and Culture

4 / 12% 3 / 9% 4 / 12% 0 / 0% 11 / 33% 33

National Museum 

of the American Latino

13 / 7% 24 / 11% 32 / 15% 19 / 9% 88 / 42% 210

Freer Gallery of Art and Arthur M. 

Sackler Gallery

12 / 13% 20 / 22% 14 / 15% 21 / 23% 67 / 73% 92

Notes: a. Number of FTEs (full-time employees) and percent of FTEs dedicated to collections, exhibitions, public

 programs, or research 

b. This total is just for collections, exhibitions, public programs, and research staff

ORGANIZATIONAL

ASSUMPTIONS

The majority of staff members in a museum work directly 

in program areas, including curators, educators, registrars, 

preparators, researchers, conservators, archivists, 

librarians, and designers. The balance of the staff is 

dedicated to administration, fundraising, marketing, 

community and government relations, and operations 

(including visitor services, retail, events, and security). 

The models that are most relevant to the American 

Latino museum are existing Smithsonian museums and 

the newly established national museums (a comparison 

of the relevant existing Smithsonian museums was also 

used to project operating costs). TABLE 7 summarizes 

the staffing levels for those museums. The Holocaust 

museum has a large operating budget, and it shows an 

upper limit staffing total of 400. The total staffing for 

the American Latino museum is projected to be about 

210 staff members. Of that number, about 42 percent 

(or 88 staff members) would be devoted to collections, 

exhibitions, public programs, and research. This range 

is lower for the American Latino museum than, for 

example, the National Museum of American History 

because it is based on three early assumptions:

1. The American Latino museum will devote significant 

resources to its deeper mission — that of forwarding 

the national discourse regarding contributions 

of American Latinos to society. One of the most 

compelling arguments for building the museum is the 

need to advance scholarship and preservation.

2. A welcoming and service-driven atmosphere will be of 

central importance to the museum.

3. The site will be “activated” with robust programming 

to complement exhibitions and attract first-time and 

repeat visitors.

Based on the three assumptions, it is expected that the 

American Latino museum will have a greater number 

of employees devoted to operations to provide highquality visitor services. The result is a lower overall 

proportion of collections and programming staff. It is 

critical to understand that the “final” staffing model and 

size will be impacted greatly by the governance model.
26

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

FACILITY REQUIREMENTS

Much work was devoted to laying the groundwork for planning future 

permanent collection and programming space for the American Latino 

museum. It is important to point out that the facility requirements and 

recommendations were developed in conjunction with the site-selection 

component of the initial planning effort. 

The following tasks were completed to determine the future permanent collection 

and programming space requirements for the American Latino museum:

•	 defining the concepts of storage and programming for the proposed new 

American Latino museum

•	 estimating collections storage, staging, and conservation needs, including 

size, climate, and security

•	 estimating public programming needs, including spaces for performances, 

education, and multiuses

Research was conducted with existing and emerging national museums of 

similar scope and size to the proposed American Latino museum, including 

the African American museum, American Indian museum, Collections 

Research Center, National September 11th Memorial and Museum, 

Holocaust museum, and the Canadian Museum of Human Rights. These 

museums offer the American Latino museum relevant benchmarks and 

useful lessons learned for consideration as the project moves forward. 

Information (such as history, approach to acquisitions, and budget) was 

gathered related to each museum’s collection, collection storage space, and 

programming space. 

Permanent Collection Storage Space 

The permanent collection storage space is the protective envelope 

surrounding the collection. It is the most secure and environmentally 

stable space within the museum. Given the significance of the American 

Latino museum to visitors, maximizing the visitor experience requires 

allowing as much on-site public space as possible. This allowance has 

important implications for collections storage. Data gathered from 

four Smithsonian museums is useful to illustrate the size and scale of 

collections storage space at museums located on the National Mall. 

•	 Freer Gallery of Art and Arthur M. Sackler Gallery — 13,389 square feet 

on-site

•	 American History Museum — 330,115 square feet on-site; 253,800 

square feet off-site

•	 American Indian museum — 61,599 square feet on-site; 54,180 square 

feet off-site

•	 African American museum — 55,000 square feet off-site

Jorge VILLASEñOR

first grade teacher

“As an educator, it is especially 

satisfying to have a museum that 

is dedicated to Latino culture and 

accomplishments. All young people 

will now have a place to experience 

our beautiful and dynamic culture.

Latinos have made significant 

contributions to this country, and 

it will be thrilling to see these 

accomplishments acknowledged 

and appreciated by American 

society. I am especially proud of the 

“ordinary” people; the hard-working 

immigrants who, like my parents, left 

their native country to work towards 

a better life in the United States. 

Their hard work and sacrifices are my 

generation’s triumphs. Our parents 

and grandparents giving us the 

opportunity to excel in this country 

is just as significant as any invention, 

speech, or prize ever awarded.” 
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Collections storage includes on-site and off-site spaces and related 

collections equipment. On-site storage will be dedicated museum space 

designed and maintained for maximum protection and optimal use of the 

permanent collections. 

Off-site storage is dedicated space that houses the museum collection in 

a location separate from the museum building. It is anticipated that off-site 

storage will be particularly important to the American Latino museum during 

the early acquisitions phase (programming, design, and construction) as the 

museum likely will need a temporary storage facility for its initial collection. 

The Order of Magnitude Space Program for the American Latino museum 

estimates that the museum will use two facilities to meet its space needs; one 

located in the museum to house public operations and related support spaces, 

and another located off-site to house collections storage and related support 

spaces. This strategy is based on the U.S. Federal Museum Standard Practices, 

in addition to standard operating procedures of other cultural institutions of 

significant size.

Public Programming Space 

Many historic and contemporary aspects of American Latino life and culture 

have occurred through the performing arts — theatre, music, and dance — and 

through intangible heritage, such as life-passage ceremonies and home and 

neighborhood rituals. Thus, the American Latino museum’s programming will 

go beyond traditional museum public programs to explore the role of these 

aspects of American Latino life and culture.

Programs offered at the American Latino museum will include a diverse mix of 

open forums, debates, lectures, conversations, seminars, symposia, courses, 

curriculum-based school programs, performances, travel tours, readings, 

and gallery talks. These programs support exhibitions and offer different 

perspectives on broader cultural and social issues. They also connect visitors 

to new scholarship and exhibition content and are the vehicle through which 

visitors understand the museum’s core mission, themes, and research.

Superior spaces for public programs must be a part of the experience at the 

American Latino museum. Learning spaces for adults, children, families, and 

school groups should be a priority, and performance spaces to enhance the 

museum experience should be accessible and available to museum visitors 

and the general public. 

Melina Bornstein 

Somoza

Student, University of

Colorado at Boulder 

 “I believe that the creation of the 

National Museum of the American 

Latino is an amazing decision that 

will greatly benefit every person in 

the United States for generations 

to come. The museum gives the 

opportunity to learn about the long 

history and important contributions 

of Latinos in the United States 

that is often unavailable through 

avenues such as our schools or 

popular culture. The museum is very 

much needed and will be greatly 

appreciated by Latinos and nonLatinos alike.”
28

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

Learning Spaces

To support the museum’s educational mission, the 

following dedicated learning spaces are recommended 

for the museum:

•	 School group area — for supervised large school 

groups (up to 50)

•	 Classrooms (approximately six) — for dedicated formal 

education programs 

•	 Public reading / reference room — part of the 

library/archives 

•	 Archives — formal 

•	 Small screening room — used by the education 

department to further educational programs 

Performance Spaces

The following are recommended types of performance 

spaces, although performances may also take place in 

galleries or in off-site venues in partnership with local 

museums and performing arts organizations:

•	 Auditorium — 350 seats

•	 Orientation theater — 75 seats 

•	 Performance space — 500 seats with space for 

performers for informal performance of all kinds

Convertible Spaces

The American Latino museum will be a lively place, full 

of activity and a variety of traditional and nontraditional 

programs to engage visitors and encourage repeat visits. 

Programming spaces should allow for flexibility and 

spontaneity. While many spaces in the museum will be 

flexible and able to accommodate different types of 

programs, the following two spaces are recommended as 

convertible spaces to support the full range of programs 

at the museum: 

•	 Outdoor programming space (inside/outside) — 

exterior flexible space for large public programs like 

outdoor concerts, rallies, carnivals, and festivals

•	 Multipurpose room — performance space

Estevan Rael Gálvez 

Executive Director National Hispanic Cultural Center and former State Historian

“This is a critical moment in our nation’s history, where remembering the histories and experiences of Latinos 

in the United States will allow us to strengthen and perfect our union. We are a part of that long story and 

we are also poised to be a part of its unfolding narrative. We applaud the NMAL and its efforts to move this 

vision forward.

There is a tremendous strength in the network of organizations across the nation charged with fostering 

a dynamic environment where Latino culture is sustained in order to illuminate, inform and inspire. This is 

certainly the vision of the National Hispanic Cultural Center and yet our strength as a community and as a 

network, lies precisely in the collective promise of sustaining creativity.”
29

A Report to the President and Congress of the United States

To Illuminate the American Story for All

Net and Gross Space 

Projections

Space planning is generally based first on the 

identification of net square footage requirements, since 

these reflect the usable space required for functions 

or activities. Next, a gross-square-footage calculation is 

created based on a percentage above net. For planning 

purposes, a grossing factor of at least 40 percent (1.4) 

is applied at this stage of the process. Table 8 shows a 

generalized breakdown of what gross square footage 

represents within the total building envelope.

TABLE 8. ORDER OF MAGNITUDE SPACE PROGRAM, APRIL 2010

Function Percent of Net 

Building Space

Wall thickness and structure 10%

Elevator shafts, fire exits/stairs, and 

corridors or catwalks

20%

Mechanical rooms / electrical and 

mechanical runs

10%

Grossing factor 40% (1.4)

Source: Lord Cultural Resources

Estimates show that the American Latino museum 

requires approximately 359,422 gross square feet of 

space. The estimate assumes that the public facility 

consists of 310,422 gross square feet and a storage 

facility consists of 49,000 gross square feet.

The public facility is anticipated to have 

•	 41,950 net square feet (19 percent) for public spaces

•	 97,000 net square feet (44 percent) for galleries

•	 27,180 net square feet (12 percent) for collections 

storage and support

•	 55,600 net square feet (25 percent) for offices and 

other support spaces

The storage facility will be used primarily for collections 

care, with 32,000 net square feet (91 percent) devoted 

to collections and 3,000 net square feet (9 percent) for 

associated support space.

Table 9 provides a summary of the program with net and 

gross figures. 

TABLE 9. SUMMARY OF ORDER OF MAGNITUDE SPACE PROGRAM WITH NET AND GROSS FIGURES, APRIL 2010

Summary Space Program

American latino museum

Public 

Facility

Storage 

Facility

Totals Museum

Norm

Net 

Square Feet Percent

Net 

Square Feet Percent

Net 

Square Feet Percent Percent

Zone A — Public noncollection space 41,950 19% 41,950 16% 20%

Zone B — Public collection space 97,000 44% 97,000 38% 40%

Zone C — Nonpublic collection space 27,180 12% 32,000 91% 59,180 23% 20%

Zone D — Nonpublic noncollection space 55,600 25% 3,000 9% 58,600 23% 20%

Zone O — Outdoor areas

Total net square feet 221,730 100% 35,000 100% 256,730 100% 100%

Grossing factor @ 40% (× 1.4) 88,692 14,000 102,692

Estimated total gross square feet 310,422 49,000 359,422
30

National Museum of the American Latino Commission 

Chapter 4: Collections and Programs

Lewis Segal 

Former Culture & Dance critic, Los Angeles Times

“The contributions of Latinos to dance in America are incalculable. This museum should gather an archive of 

moving images so all past materials can be studied and recognized. Make room for dance in the museum.”
GOVERNANCE AND 

ORGANIZATIONAL STRUCTURE

33

A Report to the President and Congress of the United States

To Illuminate the American Story for All

GOVERNANCE AND

ORGANIZATIONAL STRUCTURE

RECOMMENDATION

Detailed research on the governance and organizational structures of many 

national museums and cultural centers was performed. In addition, a thorough 

review of the governance models within the Smithsonian Institution was 

conducted. Based on this analysis, the Commission recommends that a 

Smithsonian American Latino Museum be established within the 

Smithsonian Institution. 

The American Latino museum would be governed within the Board of Regents 

structure of the Smithsonian Institution. It is recommended that a Board of 

Trustees be established for the museum with defined duties, powers, and authority. 

The Commission recommends that, among the general duties and powers, the 

Board of Trustees shall

•	 make recommendations to the Board of Regents concerning annual 

operating budgets for the museum 

•	 make recommendations to the Board of Regents concerning the planning, 

design, and construction of the museum

•	 advise and assist the Board of Regents on all matters relating to the 

administration, operation, maintenance, and preservation of the museum

•	 adopt bylaws for the Board of Trustees

•	 designate a chairman and other officers from among the members of the 

Board of Trustees

•	 report annually to the Board of Regents on the acquisition, disposition, and 

display of American Latino collections, objects, and artifacts within the 

Smithsonian and on other appropriate matters

It is further recommended that, subject to the general policies of the Board of 

Regents, the Board of Trustees shall have the sole authority to 

•	 purchase, accept, borrow, or otherwise acquire artifacts and other objects for 

addition to the collections of the museum

Matt Martínez

President of KNMX Radio

and former Mayor

of Las Vegas, NM

“Veterans’ stories should be included 

in the museum. Some people don’t 

realize how many veterans and 

military personnel are of Hispanic 

descent. Latinos played a big part in 

the story of this country. The National 

Museum of the American Latino 

has to work hand in hand with the 

National Hispanic Cultural Center 

and not compete because we are 

trying to convey the same message. 

Work with us and other Hispanic 

museums around the country. 

If you have the museum away from 

the Mall, it makes it more difficut 

for people to get to the muesum.”

Facing Page:

José Campeche

San Juan Nepomuceno (Saint John Nepomuk)

Smithsonian American Art Museum
34

National Museum of the American Latino Commission 

Chapter 5: Governance and Organizational Structure 

•	 lend, exchange, sell, or otherwise dispose of any part of the collections of the 

museum, with the proceeds of such transactions to be used for additions to 

the collections of the museum or additions to the endowment of the museum

•	 specify criteria with respect to the use of the collections and resources 

of the museum, including policies on programming, education, exhibitions, 

and research

The Commission recommends the Board of Trustees be composed of 36 voting 

members to specifically include

•	 the Secretary of the Smithsonian Institution

•	 the Under Secretary for Art, History, and Culture (or equivalent position) 

of the Smithsonian Institution

•	 1 member of the Board of Regents, appointed by the Board of Regents

•	 1 member designated by the Congressional Hispanic Caucus 

of the U.S. Congress

•	 1 member designated by the Congressional Hispanic Conference

•	 Initially, 17 individuals appointed by the Board of Regents from a list of 

nominees recommended by the Board of Trustees, with the board being 

able to expand to 35 members

The Commission recommends that the American Latino museum have a director, 

who shall be appointed by the secretary, with approval of the Board of Trustees. 

The director shall manage the museum subject to the policies of the Board of 

Regents and the Board of Trustees.

KEY ISSUES 

Four governance models and frameworks were analyzed in the context of nine 

key issues:

•	 Issue 1 — The governance structure and a decision-making process must 

exemplify worldwide best practices and reflect the priorities and practical 

concerns of the Commission.

•	 Issue 2 — What foundations of governance will foster long-term institutional 

sustainability?

•	 Issue 3 — Should the governing board function as an independent institution 

or under a governmental structure such as the Smithsonian Institution?

•	 Issue 4 — The selected strategies must ensure transparency, integrity, and the 

highest degree of accountability.

•	 Issue 5 — The governance model must allow for artistic freedoms necessary 

to create a vibrant, vital artistic center that fulfills the hopes of the target 

audiences.

•	 Issue 6 — Issues of board governance that may have an impact on regional 

Latino and related museums must be identified and reconciled.

•	 Issue 7 — What is the appropriate composition of the governing board?

•	 Issue 8 — What are the roles and relationships of the Board of Trustees, 

institutional leadership, and governmental oversight bodies?

•	 Issue 9 — The Board of Trustees’ responsibilities and authorities on institutional 

planning, operations, and long-term development must be clearly defined.

Pedro Reina

Pérez, PhD 

Professor, University of 

Puerto Rico

“The building of the museum will 

become a place where the invisible 

becomes visible and a place where we 

honor the ancestors who became the 

grand architects of our communities. 

This is an imperative task.”
35

A Report to the President and Congress of the United States

To Illuminate the American Story for All

BEST PRACTICES

The best practices for this report constitute the most effective and 

appropriate methods and policies to deliver a highly functioning governing 

authority that fulfills its fiduciary responsibilities, operates by accountable and 

ethical policies and actions, and responsibly preserves resources held in the 

public trust. 

Interviews were conducted with museum leadership from 10 national 

institutions that, individually, correspond to the four governance models 

analyzed for this report. Interviews were also conducted with selected 

culturally specific museums that fall under one of the four models. 

The interview questions were formulated to learn how the governance 

practices apply specifically to each leader’s (board and executive director) 

experience within their respective museums. Also, the corresponding 

bylaws were analyzed to yield an informed view that distinguishes 

between policy and practice. 

The Commission established the following eight key criteria for evaluating the 

best practices and four governance models — the key criteria are based on 

discussions of those nine key issues listed above: 

1. transparency and accountability

2. inclusiveness

3. artistic freedom

4. effective business planning

5. quality control

6. positive impact on other Latino museums

7. long-term institutional sustainability

8. global partnerships

FOUR ALTERNATE GOVERNANCE MODELS

ORGANIZATIONAL STRUCTURE 

The governance organizational structure is vital to how the governing 

body (or bodies) will plan, maintain accountability, and support the 

museum in its advancement. This section summarizes information from 

the Commission’s “Governance Strategy” report and offers a comparison 

of the four governance models. The four model options selected for 

examination range incrementally from traditional models to more 

advanced models — a museum under the auspices of a governmental 

department, such as the Smithsonian; to a fully independent, self-financed 

organization housed in a government facility, such as The Metropolitan 

Museum of Art.

Table 10 provides a comparison of the four models. The organizational charts 

for the four models (figures 3–6) are presented immediately after the table.

Ned Rifkin

Director of the

Blanton Museum of Art

(Former Smithsonian

Undersecretary for Art)

“I am very eager to know about 

cultures other than my own. I represent 

that constituency that would be a 

beneficiary of learning about what 

is soon to be the majority culture 

in this country. The success of the 

museum is not the visitation of the 

place but rather engagement with 

the phenomenon of this force. You 

can plan this museum with an online 

presence; you can get to millions of 

people that cannot be physically 

present through this medium.”
36

National Museum of the American Latino Commission 

Chapter 5: Governance and Organizational Structure 

TABLE 10. COMPARISON OF THE FOUR GOVERNANCE MODELS

Model A

Smithsonian

Governance

Relationship

Model B

Museum under

Independent

Federal Entity

Model C

Independent with 

Federal Contract

and Services

Model D

Independent

National Museum

Key Criteria This Model Meets

1. transparency and 

accountability

2. inclusiveness

5. quality control

6. positive impact on other 

Latino museums

7. long-term institutional 

sustainability

1. transparency and 

accountability

3. artistic freedom

5. quality control

3. artistic freedom

4. effective business planning

5. quality control

7. long-term institutional 

sustainability

2. inclusiveness

3. artistic freedom

4. effective business planning

5. quality control

7. long-term institutional 

sustainability

Transparency

The program and connections 

to Smithsonian scholarship 

resources are developed 

through the Smithsonian 

Latino Center.

Ample services and guaranteed 

financial support are provided 

by the Smithsonian economic 

model and supplemented by 

the advisory council(s) of the 

individual institution.

Development of a beneficial 

relationship with Latino 

organizations occurs through 

the use of the Smithsonian 

brand, extended regionally, and 

connecting with local partners, 

which benefit all.

This executive branch model 

demonstrates a politically 

appointed governing board that 

provides advocacy for an annual 

financial appropriations.

The governing board maintains 

fiduciary responsibility as a fully 

autonomous entity. Biannual 

congressional hearings, plus 

annual appropriations hearings, 

plus direct scrutiny from the 

Office of Management and 

Budget and is at risk “on its 

own” legally.

Most private fundraising is 

staff driven, and there are no 

stated financial obligations for 

governing board members.

The board focuses on the 

restricted acquisition trust fund, 

the endowment investments 

and financial management, and 

Congress controls the federally 

appropriated operating 

expenses.

The governing board model 

enjoys autonomy in its decision 

making and relies on a strong 

executive committee with 

broad powers.

The checks and balances are 

fully in place.

The successful independent 

museum governance structure 

enjoys full independence and 

artistic freedom. It manages 

its own facility, operations, 

and programs (this is the most 

autonomous of all models 

studied). But, research has 

shown the number of fully 

independent museums (those 

without local, state, or some 

sort of public assistance and 

oversight) is small.

The level of transparency and 

accountability of independent 

museums varies.

A powerful governing board, 

with substantial leverage, is 

required to achieve the financial 

demands of a substantial 

independent national museum.

Highlights of Roles and Responsiblilities

Advisory committees need 

members with fundraising clout, 

congressional relationships, and 

Nobel Prize winners.

Strong leadership is absolutely 

required to maintain a robust 

team and gain needed attention 

amid the crowd of other 

museums and research centers 

that comprise the Smithsonian.

The Smithsonian will be 

increasing reporting and 

standardization, which will 

trickle down to the advisory 

committees. Advisory 

committees that range in size 

from 19 to 40 members or 

larger are better during the lifecycle start-up stage.

Members are appointed, not 

elected, by the President and 

Congress, with three ex officio 

members representing the 

Secretary of State, Secretary 

of the Interior, and Secretary of 

Education.

Governing board members 

include both political parties, 

and members change with 

congressional elections, which 

can result in little continuity of 

governing board. The areas of 

interest and concern can vary 

greatly under this structure.

The bylaws include provisions 

to resolve conflicts of interest 

and address transparency 

requirements. The governing 

board installs an independent 

auditor for ongoing advisement 

and presence as a nonvoting 

observer (paid services) of all 

governing board meetings.

The museum is subject to 

biannual congressional 

hearings. Approval by the Office 

of Management and Budget is 

needed for financial matters 

and before responding to 

congressional inquiries.

Full and fiduciary powers and 

responsibilities.

Some museums must respond 

to state or municipal partners 

and include appropriate ex 

officio members.

All officers are elected. The 

chairman is the corporate 

executive officer of the 

museum. 

The board is responsible for 

financial sustainability of the 

museum through multiple 

resources. 

Boards range in size; generally, 

there are more committees in 

this model that are aligned with 

staff functions.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

TABLE 10. COMPARISON OF THE FOUR GOVERNANCE MODELS (CONTINUED) 

Model A

Smithsonian

Governance

Relationship

Model B

Museum under

Independent

Federal Entity

Model C

Independent with 

Federal Contract

and Services

Model D

Independent

National Museum

Governance Structure

Examples of this structure: 

•	 National Museum 

of the American Indian

•	 National Museum of 

African American History 

and Culture

Example of this structure:

•	 United States Holocaust 

Memorial Museum 

Example of this structure:

•	 National Gallery of Art 

•	 John F. Kennedy Center

for the Performing Arts

Example of this structure:

•	 The Metropolitan Museum 

of Art in New York City 

•	 El Museo del Barrio

•	 The National Museum of 

Mexican Art

Model A’s oversight committee 

reports to the executive 

director, who reports to 

Smithsonian administration 

and the Board of Regents. The 

cross-functional responsibilities (such as collections 

management, business 

enterprises, and staff selection 

and review) that have an impact 

on governance are overseen 

or managed by Smithsonian 

administrative departments. 

Model A would incorporate the 

American Latino museum under 

the auspices of the Smithsonian.

(See figure 3)

Model B represents a 

tripartite executive branch 

reporting structure, with board 

appointments consisting of 

elected officials (altogether 

numbering 65 board members). 

Additionally, the Secretary of 

the Interior shares management functions with the 

museum, which systematizes 

some aspects of governance 

responsibility. An internal 

auditor provides close-at-hand 

gate keeping to the board. 

(See figure 4)

Model C combines 

independent governance 

with contractual and/or 

legal connections to various 

federal agencies and services. 

This shows a dichotomous 

structure and the challenge of 

balancing power between two 

influential entities. It illustrates 

an autonomous and powerful 

Board of Trustees overseeing 

a private trust in coordination 

with a bureau providing federal 

agency museum services. 

The executive director reports 

to the board chairman and 

to the federal agencies that 

provide services, plus Congress, 

which is responsible for its 

annual appropriations. The 

executive director works 

with the Smithsonian bureau 

but reports to the Office of 

Management and Budget.

(See figure 5)

Model D’s structure illustrates 

a fully autonomous entity. Its 

simplicity points to a model 

potentially less insulated from 

risk than Models A, B, and C. 

The Board of Trustees controls 

all aspects of the museum’s 

planning, collections, and 

financial stability. An advisory 

committee may report to 

the executive director and 

would typically assist with 

program advisement, audience 

development, and fundraising. 

(See figure 6)

Model A: National

Museum of the

American Indian

Model C: National

Gallery of Art

Model B: United

States Holocaust

Memorial Museum

Model D: Metropolitan

Museum of Art
38

National Museum of the American Latino Commission 

Chapter 5: Governance and Organizational Structure 

Board of regents

Office of the Regents

Inspector General

secretary

Under Secretary for History, 

Art, and Culture

Board of Trustees

Board of Trustees

Congress

Finance and Administration, 

National Collections

External Affairs General Counsel

Smithsonian Enterprises, 

(Retail, Licensing, Media)

House of Representatives Office of the President United States Senate

Communications, Diversity Initiatives

Government Relations

National Museum

of The American Latino

Executive Director

National Museum

of The American Latino

Executive Director

National Museum

of The American Latino

Executive Director

Council

National Museum of the American Latino

National Museum

of The American Latino

Executive Director

Department 

of the Interior

Board of Trustees

Advisory Committee

Advisory Committee

Internal Auditor

Figure 3. Model A: Smithsonian Governance Relationship

Figure 4. Model B: Museum under independent federal entity

Figure 5. Model c: Independent with federal contract and services

Figure 6. Model D: Independent national museum

Under Secretary for 

Science

Smithsonian Bureau
39

A Report to the President and Congress of the United States

To Illuminate the American Story for All

PROS AND CONS OF EACH 

GOVERNANCE MODEL

Another important step was to compare the pros and 

cons of each governance model. Table 11 summarizes 

the key points in favor and against each of the 

researched models and also shows the museums that 

were closely examined.

The very detailed “Governance Strategy” report, from 

which this chapter is summarized, fully supports the 

Commission’s governance recommendation through 

its extensive analyses and fully validates a decisionmaking process that exemplifies worldwide best 

practices and reflects the priorities and practical 

concerns of the Commission. 

Defining the governance structure is an important step 

in the process of creating the American Latino museum, 

and it must be in place before work begins on the 

selected site (next chapter).

TABLE 11. PROS AND CONS OF EACH OF THE FOUR GOVERNANCE MODELS

Museums Examined Pros Cons

Model A: Smithsonian Governance Relationship

National Museum of African American 

History and Culture

National Museum of the American Indian

Cooper-Hewitt, National Design Museum

Financial sustainability

Established centralized systems and 

fiduciary responsibility of the Board of 

Regents

High level of transparency

High-quality programming and Smithsonian 

brand is recognized internationally

The board’s authority is subject to the 

general policy of the Board of Regents; that 

is, the secretary appoints the director.

Competition with other Smithsonian 

museums and research centers

The oversight board is expected to conduct 

fundraising without power over funds

Model B: Museum under Independent Federal Entity

The United States Holocaust 

Memorial Museum

Substantial financial stability

More board and management 

independence; appoints its director

Unrestricted access to fundraising and 

power over funds

Bears full cost of administration, security, 

operations, legal, and so on

Must lobby Congress annually for 

appropriations

Potential for micromanaging

Model C: Independent with Federal Contract and Services

National Gallery of Art 

John F. Kennedy Center 

for the Performing Arts

Substantial financial stability

Independent board and management 

(appoints a director)

Unrestricted access to fundraising and 

power over funds

Bears full cost of administration, security, 

operations, legal, and so on

Must lobby Congress annually for 

appropriations

Level of transparency may vary

Model D: Independent National Museum

The Metropolitan Museum of Art 

El Museo del Barrio

Fully independent board, management, and 

decision making

Manages own facility, services, and programs

Unrestricted access to fundraising 

and power over funds

Level of transparency may vary

Full cost of administration, security, 

operations, legal, and other costs

Requires board with substantial fundraising 

leverage and annual financial commitment

SITE ASSESSMENT:

LOCATIONS AND FACILITIES

43

A Report to the President and Congress of the United States

To Illuminate the American Story for All

SITE ASSESSMENT:

LOCATIONS AND FACILITIES

alternative sites and 

evaluation criteria

Congress directed the Commission to report on possible 

locations for the National Museum of the American 

Latino in Washington DC and its environs, and to consider 

the locations in consultation with the National Capital 

Planning Commission, the Commission of Fine Arts, 

the Department of the Interior, and the Smithsonian 

Institution. 

The Commission’s “Site Assessment Study” examined a 

number of potential sites that might be appropriate for 

the location of the American Latino museum. From the 

sites that were initially considered, the list was narrowed 

to nine sites that best reflected an early understanding of 

the mission, vision, and collection scope for the museum 

and their impact on the development potential of each 

site. All of the sites considered are located on or near the 

National Mall and Washington’s monumental core (see 

FIGURE 7). The nine sites that received full consideration 

in the study were

•	 Site 1 — Capitol Site

•	 Site 2 — Arts and Industries Building with 

a new Annex

Site 3 — Jamie L. Whitten-West Building (U.S. 

Department of Agriculture)

•	 Site 4 — Monument Site with a Sydney R. Yates 

Building Annex

•	 Site A — Overlook Site

•	 Site B — Liberty Loan Building Site

•	 Site C — South Interior Building

•	 Site D — J. Edgar Hoover Building (Federal Bureau of 

Investigation) Site

•	 Site E — James V. Forrestal Building (U.S. Department 

of Energy) Site

The Commission’s Site-selection Committee then 

participated in a two-day Site-assessment Workshop that 

resulted in the identification of two of the nine sites as 

potential locations for the museum.

•	 Site 1 — Capitol Site

•	 Site 2 — Arts and Industries Building with a New 

South Annex

The following criteria were used during the site 

evaluation process for each site:

•	 Location — proximity to the National Mall, 

Washington DC icons, and quality of the 

visitor experience

•	 Museum program — ability of the site to meet the 

National Museum of the American Latino’s program

•	 Development costs — construction, demolition, 

relocation, and other related development costs

•	 Access — site accessibility by pedestrian, vehicular, 

and transit modes; parking; and service access

•	 Availability — congressional support and approvals 

to develop the site

•	 Size — ability to accommodate initial 

and future development

•	 Environment — ability to address environmental 

impact issues and sustainable design initiatives

Site Recommendation

After considerable deliberation , the full Commission 

voted unanimously to recommend the Capitol Site as 

the location for the proposed Smithsonian American 

Latino Museum.

Facing Page:

Tapestry Weave Rag Jerga

Agueda Martínez 

Smithsonian American Art Museum
44

National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

SEVEN Non-Selected Sites

Site A — Overlook Site

Site B — Liberty Loan Building Site

Site C — South Interior Building

Site D — J. Edgar Hoover Building 

(Federal Bureau of Investigation) Site

Site E — James V. Forrestal Building (U.S. 

Department of Energy) Site

Site F — Jamie L. Whitten-West Building 

(U.S. Department of Agriculture)

Site G — Monument Site with a Sydney R. 

Yates Building Annex (U.S. Forest Service 

South)

FIGURE 7. Aerial View of the Washington DC Monumental Core, Looking Northeast, Identifying Location of

Assessed Sites

Background image courtesy of Google, Inc. 2009.

Final Two Sites

Nonselected Sites

Precedent Sites 

(Future National 

Museum of African 

American History 

and Culture (H) and 

Existing National 

Museum of the 

American Indian (I))

1 - 2

A - G

H - I 

Final TWO Sites

Site 1 — Capitol Site

Site 2 — Arts and Industries Building with a 

new south annex
45

A Report to the President and Congress of the United States

To Illuminate the American Story for All

URBAN DESIGN CONTEXT

No area of our nation’s capital has greater symbolic significance than 

the National Mall. It is critical to understand the National Mall’s planning 

background to properly consider any intervention in this historically and 

culturally significant environment. The following documents were used as the 

urban design context for the recommendations put forth in this assessment.

L’Enfant Plan of 1791 — The original plan of Washington, produced by 

Pierre Charles L’Enfant and titled the “Plan of the City Intended for the 

Permanent Seat of the Government of [the] United States,” established the 

current location of the Washington Monument, the Capitol, and the White 

House, as well as Washington DC’s radial street pattern. This plan also 

delineated the area now known as the National Mall and established sites 

where significant civic buildings were to be located.

McMillan Plan of 1901 — The vision created by the McMillan Commission 

is considered by many to have crystallized the intent of L’Enfant’s plan for the 

National Mall. Together, these two documents set in motion the plans and 

building initiatives for what is now one of the most recognized and visited 

built environments in the United States. The focus of this plan was to afford 

spacious sites for buildings devoted to scientific purposes and for great 

museums.

The Mall area was identified by L’Enfant and the McMillan Commission’s 

work as the focus for buildings of civic importance to the entire nation. This 

concept has been reinforced by recent commissions in recommendations for 

sites for both the American Indian museum and the African American History 

museum. The sites for both museums are consistent with the guidelines 

established by these two plans. The two sites recommended as suitable for 

the American Latino museum follow this precedent and help complete the 

Mall as envisioned by these two documents.

Extending the Legacy Plan of 1997 — The Extending the Legacy Plan 

prepared by the National Capital Planning Commission preserves the 

Monumental Core as the symbolic heart and national gathering place of the 

country, and as the center of Washington DC. The plan shifts the perceived 

center of the city to the Capitol; redefines the Monumental Core to include 

adjacent portions of North, South, and East Capitol Streets; and reclaims 

and reconnects the waterfront to the city. The vision of the Legacy Plan has 

facilitated the implementation of Legacy proposals such as the South Capitol 

Street revitalization and the Anacostia Waterfront Initiative, and spurred 

the Memorial and Museums Master Plan of 2001 and the Monumental Core 

Framework Plan of 2009 — plans that have further informed the work of the 

museum’s Site Assessment Study.

Natalie Morales 

Anchor for the

Today Show NBC

“It will be a dream come true to 

have a museum for the American 

Latino because we are pretty quickly 

becoming a majority in this country; 

we are hardly a minority. When 

the results of the 2010 census are 

revealed, I think people are going to 

be overwhelmingly surprised by that 

fact. It is about time that our history, 

our culture, and our heritage were 

honored, and that Latinos have a place 

to go where they can see that in full 

display. When I think of Latino, I think 

passion, beauty, history, culture. I think 

American because one in three of us 

is an American Latino, and we are a 

culture so full of pride and history and 

love and passion. So it is about time 

that this museum allows us to display 

that. I think the National Mall would be 

an incredible location for this museum 

since it is a place where so many 

different events have been marked, 

and there are monuments marking 

those historical periods . . . place 

where you can see all of the museums 

at the same time.”
46

National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

Memorials and Museums Master Plan, 2001 —

The Memorials and Museums Master Plan (MMMP) is 

considered to be the first step in the implementation of the 

vision of the Extending the Legacy plan. The main purpose 

of the MMMP is to “guide the location and development of 

future commemorative works and cultural facilities.” The 

MMMP identified 100 potential sites for future memorials 

and museums throughout the vast urban context of 

Washington DC.

Monumental Core Framework Plan, 2009 — The 

Monumental Core Framework Plan (Framework Plan), seen 

as the second step in the implementation of the vision of 

the Extending the Legacy Plan, shows how memorials and 

museums can anchor lively, mixed-use destinations and 

forge a seamless connection between federal and local 

aspects of the city. The Framework Plan recommends 

special initiatives for four precincts within the District of 

Columbia’s monumental core. These include a variety of 

large and small initiatives — some easily achieved in the 

next few years, and others that will require a longer timeframe. Many recommendations will require additional indepth planning before projects are funded or constructed. 

See FIGURE 8 for McMillan Plan with Jurisdictional 

Boundaries, Precedent and Selected Sites indicated.

This assessment takes a first step in the detailed planning 

process of the American Latino museum and is consistent 

with the recommendations of the Framework Plan. While 

the Framework Plan adopted a comprehensive vision for 

the improvement of the precincts identified for the study, 

the scope of this assessment study is limited to identifying 

a suitable site for the American Latino museum. 

Final National Mall Plan / Final Environmental 

Impact Statement, 2010 — The National Park Service, 

with the help of extensive community input, completed a 

long-term vision for restoring the beauty and ensuring the 

sustainability of America’s front yard, the National Mall. 

The National Park Service announced the availability of 

the Final National Mall Plan / Final Environmental Impact 

Statement (FNMP/FEIS) through a notice in the Federal 

Register on July 13, 2010. Key elements of the FNMP/

FEIS include the need for the following:

•	 Flexible, multipurpose venues

•	 Surfaces for recreation and play, improved conditions 

for passive recreation, and convenient restrooms

•	 Improvements to general condition and appearance, 

additional services, and spaces for cultural activities 

and photo opportunities

•	 Highest standards of accessibility and 

universal design

•	 Areas for groups to gather, find shelter or sit, and 

enhanced tour bus drop-off and parking

•	 Highest standards of sustainable design 

and operation

The American Latino museum’s site assessment and 

selection criteria, and the test-fit scenarios developed 

for each site, comply with the goals, intent, and 

elements described in the FNMP/FEIS and its Preferred 

Alternative. Issues raised with respect to the FNMP/FEIS 

at a site-specific level for the Capitol Site are described in 

more detail in the following section.

National Mall

Architect of the Capitol

Precedent Sites

Final Two Sites

FIGURE 8. MCMILLAN PLAN OF 1901 

Image with jurisdictional boundaries, 

precedent and selected sites indicated. Image 

courtesy of the Library of Congress catalog.
47

A Report to the President and Congress of the United States

To Illuminate the American Story for All

Comparison of PREFERRED site alternatives

Based on the criteria and analysis developed by the Commission and its consultant, the top two sites for a potential 

museum are indicated in blue on FIGURE 9. The proposed facility will incorporate state-of-the art technologies for 

exhibit and performance spaces. The proposed buildings for either site with comply with Executive Order 13514 

for Federal Leadership in Environmental, Energy and Economic Performance. To minimize the size of the museum 

on the proposed sites, each development option calls for a separate off-site storage facility to be used primarily for 

maintenance and storage of exhibits not currently on display. This operational strategy is currently being used in the 

American Indian museum and is planned for the future African American History museum. The museum program will be 

distributed throughout the facility along these four major functional zones:

Background image courtesy of Google, Inc. 2009.

FIGURE 9. Capitol site and Arts and industries building with new South annex

Zone A — Public Noncollection Space:

Designated space for visitors. Lobby, shop, restrooms, 

performance spaces and educational spaces are located 

in these spaces, with few exhibit materials.

Zone B — Public Collection Space:

Designated space for visitors. Galleries and objects or 

exhibitions loaned from other institutions are located in 

these spaces.

Zone C — NonPublic Collection Space:

Access is restricted to staff only. All the collection 

handling, management, and support areas for the 

permanent and temporary galleries and exhibit areas are 

located in these spaces.

Zone D — Nonpublic Noncollection Space:

Access is restricted to staff only. Offices and work 

areas to support on-site staff activities, programs, and 

noncollection building support, storage, and work areas 

are in these spaces.
48

National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

Site 1: Capitol Site

The Capitol Site (FIGURE 10) has the potential to serve as 

a link between the dense urban context of Washington DC 

and the symbolic character of the National Mall. This 

location allows the American Latino museum to complete 

this undeveloped corner and create a much-needed 

pedestrian connection between the Capitol and the 

Smithsonian museums at the northern perimeter of 

the National Mall. The proposed massing reflects the 

precedent established by the National Botanic Garden 

directly across the Capitol Reflecting Pool and is 

consistent with the recommendations of both the L’Enfant 

and McMillan plans. The Architect of the Capitol (AOC) 

and the U.S. Congress have jurisdiction over this site.

The proposed actions of the FNMP/FEIS that call for the 

transformation of the portion of the National Mall that 

contains the Capitol Reflecting Pool into the future Union 

Square — an active gathering area supported by new 

support facilities — are fully consistent with the potential 

location of the American Latino museum on the Capitol 

Site. Conversely, as a site within the jurisdiction of the 

AOC, the Capitol Site falls outside the boundaries of the 

National Mall Plan area, although it is within its delineated 

Areas of Potential Effect. The FNMP/FEIS makes 

reference to the Congressional Award Youth Park that 

can be collocated together on this AOC-controlled block 

north of the future Union Square.

The Capitol Site affords the unique opportunity to 

create a distinctive place that, together with the 

designated Congressional Award Youth Park, can result 

in a magnificent relationship between landscape and 

architecture that seamlessly integrates the interior 

program with the National Mall experience. In doing 

so, the American Latino museum can be a distinctive 

cultural experience within the context of the National 

Mall, the Smithsonian museums, Pennsylvania Avenue, 

and the Capitol Grounds.

FIGURE 11, on the following page, is a diagram of how the 

museum program might be distributed within a building 

on the Capitol Site. FIGURE 12 is a comparison at ground 

level of the Capitol Site before and after construction of 

the museum.

FIGURE 10. CAPITOL SITE Plan

Entry

Loading / Service
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A Report to the President and Congress of the United States

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FIGURE 11 . Program distribution, by floor, for the museum at the capitol site 

LOCATION

Between Pennsylvania and Constitution avenues and 1st and 3rd streets, NW. North of the Capitol Reflecting Pool, facing the west 

front of the Unites States Capitol and adjacent the East Wing of the National Gallery of Art.

SITE AREA

3.02 acres (131,580 square feet) — Site area without Congressional Award Youth Park

Program Achieved

251, 645 gross square feet (excludes public open space)

Museum Operations and Support

Collection and Exhibit Support

Floor Level B1M

Permanent Collection Galleries

Visitor Services (Elevators / Restrooms)

Collection and Exhibit Support

Floor Levels 2-3

Temporary Collection Gallery

Visitor Experience (Auditorium)

Visitor Services (Elevators / Restrooms)

Collection, Storage, and Exhibit Support

Floor Level B1

Permanent Collection Galleries

Lobby / Shop

Education

Library / Archives

Meeting / Event Area / Cafeteria

Visitor Services (Elevators / Restrooms)

Collection and Exhibit Support

Ground Floor Level 1

Level 3

Level 2

Level B1m

Level B1

Level 1
50

National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

FIGURE 12 . Capitol Site before and after construction of the museum

Top Image: Panoramic View of Capitol 

Site. View from Pennsylvania Avenue 

showing existing conditions.

Bottom Image: Rendering of Capitol Site. 

View from Pennsylvania Avenue showing 

proposed building massing.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

FIGURE 13. ARTS and INDUSTRIES BUILDING, Looking South, 

with a New ANNEX

FIGURE 14. ARTS and INDUSTRIES BUILDING with a New south ANNEX, Site Plan

The Arts and Industries Building (Figures 13 and 14) is 

listed in the National Register of Historic Places, and any 

re-use of this facility must preserve its historic character. 

The building’s exterior has been restored, and the 

Smithsonian Institution is currently undertaking a careful 

and controlled demolition of the interior floors that 

were added over time and are not historically relevant. 

The goal is to reveal the grandeur of the space as it was 

originally intended. 

The large interior spaces contribute to this building’s 

appeal and its potential to be, once again, part of 

the larger National Mall experience. However, the 

requirement to preserve the historical character 

of the building’s interior spaces conflicts with the 

need to achieve a state-of-the-art museum facility 

for the American Latino museum in a cost-effective 

manner. The Sustainable Design Feasibility Studies, 

commissioned by the Smithsonian Institution, revealed 

the limited potential of this facility to comply with 

Executive Order 13514, as well as its inability to 

provide adequate temperature and humidity controls 

required for museum exhibit space and sound control 

for performances.

Background image courtesy of Google, Inc. 2009.

Entry

Loading / Service

Site 2: Arts and Industries Building
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National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

FIGURE 15. ARTS and INDUSTRIES BUILDING, Looking South, 

with a New underground ANNEX

FIGURE 16. ARTS and INDUSTRIES BUILDING with a New 

NORTH ANNEX, Partial Site Plan

Background image courtesy of Google, Inc. 2009.

In addition, compliance with accessibility requirements 

and historical preservation guidelines make the upper 

levels of the building interior inefficient for accommodating 

the program for the American Latino museum. For 

these reasons, an addition to the historic structure is 

recommended to accommodate museum spaces and 

programs that require sound, humidity, and climate 

controls. Two alternative sites for an addition were 

explored. The preferred site is south of the Arts and 

Industries Building, across Independence Avenue on the 

site currently occupied by the U.S. Department of Energy 

James Forrestal Building. This would allow an above-grade 

structure for the annex, allowing for naturally lit spaces.

Use of this site for an annex would require the 

demolition of the Forrestal Building and relocation 

of the Department of Energy. Should this option 

prove impractical, it would be possible to construct 

an underground annex to the north of the Arts and 

Industries Building, extending beneath Jefferson Drive 

toward the National Mall as shown in FIGURES 15 and 16.

FIGURE 17, on the following page, shows the distribution 

of the museum program within the Arts and Industries 

Building and the preferred south annex option. FIGURE 18

shows the south annex site with the Forrestal Building as 

it is today, and with the massing of the proposed annex.

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A Report to the President and Congress of the United States

To Illuminate the American Story for All

FIGURE 17 . Program distribution by floor for the museum at the Arts and Industries Building With a New South Annex

Floor Level B1M

Permanent and Temporary Collection Galleries

Visitor Services (Elevators / Restrooms)

Public Space (Escalator)

Collection and Exhibit Support

Museum Operations and Support

Floor Level B1

Permanent Collection Galleries

Visitor Services (Elevators / Restrooms)

Public Space (Escalator / Monumental Stair)

Collection, Storage, and Exhibit Support

Museum Operations and Support

Ground Floor Level 1

Permanent Collection Galleries

Lobby

Visitor Experience (Small and Large Auditorium)

Visitor Services (Elevators / Restrooms)

Collection and Exhibit Support

Museum Operations and Support

Floor Level 2M

Visitor Services (Elevators / Restrooms)

Museum Operations & Support

Collection and Exhibit Support

Floor Level 2

Permanent Collection Galleries

Visitor Services (Elevators / Restrooms)

Collection and Exhibit Support

Floor Level 3

Permanent Collection Galleries

Visitor Services (Elevators / Restrooms)

Collection and Exhibit Support

Museum Operations and Support

LOCATION

Between Independence Avenue and Jefferson Drive, and L’Enfant Promenade and 9th Street, SW. On the south side of the National 

Mall, adjacent to the Smithsonian Institution Building, the National Museum of African Art, and the Smithsonian’s Hirshhorn Museum and 

Sculpture Garden.

SITE AREA

Arts and Industries Building Site — 3.66 acres (159,600 square feet) • Reconfigured Forrestal — East Site — 2.32 acres (100,900 square feet)

Program Achieved

Arts and Industries Building with new south annex — 394, 095 gross square feet (excludes public open space)

Arts and Industries Building with new north annex — 283,590 gross square feet (excludes public open space) 

Level 3

Level 2M

Level 2

Level B1m

Level B1

Level 1

Existing Arts and 

Industries Building New South Annex
54

National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

FIGURE 18 . Arts and Industries Building before and after construction of the museum and annex

Top Image: View of Forrestal Building Site. View from Independence Avenue showing existing conditions.

Bottom Image: Rendering of the Forrestal Building Site. View from Independence Avenue showing proposed 

building massing of the South Annex.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

TABLE 12. PROS AND CONS FOR THE two final SITES

Site Pros Cons

Capitol Site •	 Located on a highly prominent and honorific 

place on the Mall

•	 Large open site

•	 Offers good access to public transit

•	 Subject to stringent height and building 

footprint limitations 

•	 Site development limited by I-395 tunnel

•	 Requires act of Congress for use as a museum site

Arts and 

Industries 

Building 

with Annex

•	 Central location on the Mall

•	 Offers excellent access to public transit

•	 Located in close proximity to other cultural 

museums and attractions

•	 Numerous technical challenges and limitations in the reuse 

of the Arts and Industries Building as a modern museum

•	 Both development strategies require an annex facility and 

a tunnel connection linking them from the existing Arts 

and Industries Building.

•	 Annex across Independence Avenue requires relocation of 

the Department of Energy

TABLE 13. COST ESTIMATES AND PRELIMINARY CAPITAL BUDGETS FOR THE two final SITES

Potential Site Cost Estimate Preliminary Capital Budget

Capitol Site $188,816,000 $399,204,000 (2011 dollars)

$463,077,000 (2016 dollars)

Arts and Industries 

Building with Annex

South 

Annex

$253,346,750* $525,292,000 (2011 dollars)

$609,339,000 (2016 dollars)

North 

Annex

$189,873,000 $402,345,000 (2011 dollars)

$466,721,000 (2016 dollars)

Assessment process

An important step in the evaluation process was to 

compare the pros and cons of the final two sites. Table 12 

summarizes the key attributes of each potential site. 

Another important comparison was made — that of cost. 

Table  13 provides the cost and budget summaries taken 

from the Site Assessment Study, which includes complete 

information on how these estimates were attained and the 

program assumptions and exclusions that were used.

The preliminary capital budget reported here is just 

an overview — the next chapter provides details of the 

preliminary capital and operating budgets for the final 

two sites. 

Note: *Demolition cost for the 

Forrestal Building, estimated at 

$16,000,000, is not included in the 

total cost for the Cost Estimate 

but is included as part of the 

Preliminary Capital Budget
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National Museum of the American Latino Commission 

Chapter 6: Site Assessment: Locations and Facilities 

National Capital Planning Commission and Commission 

of Fine Arts Consultations

On July 1, 2010, and July 15, 2010, the Commission and its consultant participated in two informational 

presentations with the National Capital Planning Commission (NCPC) and the Commission of Fine Arts (CFA) 

in Washington DC. In these presentations, the Commission and its consultant gave the NCPC and CFA a brief 

overview of the nine considered sites and the two short-listed sites under assessment, and the potential museum 

test fits developed for each. These scenarios reflect adequate adjustments to the programmatic and size 

requirements of the proposed facility that respond to the specific challenges of each site and to the historical 

precedents established by the L’Enfant and McMillan plans, as well as in the subsequent planning documents that 

guide development at these sites and their surroundings. The NCPC and CFA will continue their review process 

throughout the development of the museum. The NCPC offered the following comments in support of the 

Capitol Site:

“The National Park Service is nearing the end of its major, four-year public planning process to 

guide the future of the National Mall. The Plan recommends site-specific improvements and 

considers areas that will accommodate basic visitor amenities, such as providing restrooms and 

water, as well as other important civic activities including national celebrations. The Mall Plan 

envisions one such high-use essential civic space, Union Square, through the redesign of the 

Capitol Reflecting Pool and its surrounding plaza. Union Square is located just to the south of 

the site under consideration by the Museum Commission. An appropriately scaled museum 

project could generate additional momentum for Union Square, add to the visitor amenities and 

experience on the Mall, and provide the Museum Commission with a prominent location.”

Letter from NCPC to the National Museum of the American Latino Commission

The Capitol Site
CAPITAL AND

OPERATING BUDGET

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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Summary Personnel Costs 1st Year 2nd Year 3rd Year 4th Year 5th Year 6th Year

Business Activity:* $936,616 $1,287,459 $1,615,913 $1,842,109 $1,888,162 $1,935,366

Public Programs: $127,151 $321,105 $444,116 $704,792 $722,412 $740,472

Exhibitions: $0 $0 $381,046 $580,165 $594,669 $609,536

Collections Activity: $0 $0 $77,820 $79,765 $194,616 $199,482

Research: $0 $0 $0 $94,156 $230,712 $236,480

Facilities(offices & Interim): $0 $0 $56,429 $425,701 $436,343 $447,252

Security: $0 $0 $67,101 $435,432 $446,318 $457,475

Information Technology: $522,032 $958,785 $982,754 $1,101,479 $1,129,016 $1,157,241

Operations: $0 $0 $0 $0 $0 $0

Development Operating Fund 

Raising:

$446,688 $1,295,560 $1,440,806 $1,685,509 $1,727,647 $1,770,838

Other: (SI Admin Costs) $547,318 $879,961 $901,960 $924,509 $776,842 $954,849

Total Personnel Costs $2,579,805 $4,742,869 $5,967,946 $7,873,617 $8,146,737 $8,508,992

Total Head Count 21 33 49 70 72 72

Table 14A. Smithsonian American Latino museum, First six years operating expenses

CAPITAL AND

OPERATING BUDGET

Introduction

The Commission, in recommending that the nation 

move forward with the goal of establishing a new 

national museum, recognizes that it must balance two 

vital priorities: not contributing to any new federal 

expenditure in the short-term, while clearly moving 

forward with a national museum that integrates the Latino 

experience into the American narrative.

This study has discovered a large constituency of private 

corporations, foundations and individuals that are 

eager to support a museum that will tell the story of the 

American Latino. The Commission believes that much 

of the facility planning and initial programming of the 

museum, during its first six years, can be fully supported 

with nonfederal funds.

Facing Page:

Carlos Alfonzo

Detail of: Where Tears Can’t Stop

Smithsonian American Art

*Business Activity corresponds to costs related to Executive Director, Managers, Administrative Support, and 

Board of Trustees activities
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

Summary Operational 

Costs

1st Year 2nd Year 3rd Year 4th Year 5th Year 6th Year

Business Activity: $128,000 $164,000 $217,300 $267,833 $269,096 $269,127

Public Programs: $48,000 $65,600 $100,040 $226,501 $264,663 $365,617

Exhibitions: $0 $1,000,000 $2,812,000 $3,682,300 $4,704,058 $4,729,601

Collections Activity: $0 $0 $71,000 $71,000 $108,775 $114,719

Research: $0 $0 $0 $71,400 $99,585 $100,290

Facilities(offices & Interim): $75,000 $76,875 $78,797 $259,245 $263,756 $363,869

Security: $0 $0 $16,400 $98,810 $100,870 $100,922

Information Technology: $271,000 $183,475 $188,062 $204,577 $307,489 $310,062

Operations: $70,000 $358,650 $860,816 $1,174,552 $1,457,189 $1,490,505

Development Operating Fund 

Raising:

$104,000 $205,000 $226,525 $280,363 $281,709 $281,743

Other: (SI Admin Costs) $500,000 $2,500,000 $2,500,000 $700,000 $0 $0

Total Personnel Costs $1,196,000 $4,553,600 $7,070,940 $7,036,580 $7,857,189 $8,126,455

Total Costs $3,778,805 $9,296,469 $13,038,886 $14,910,197 $16,003,926 $16,635,447

Revenue Source 1st Year 2nd Year 3rd Year 4th Year 5th Year 6th Year

Federal Appropriation $0 $0 $0 $0 $0 $0

Trust Allocation $37,788 $92,965 $130,389 $149,102 $160,039 $166,354

Unit Unrrestricted Trust $0 $0 $0 $0 $0 $0

Unit Buisness Activity $0 $155,000 $250,000 $250,000 $425,000 $425,000

Gifts & Nongovernment Grants & 

Contracts

$3,856,008 $8,953,359 $12,616,167 $14,761,306 $16,504,118 $16,658,063

Government Grants & Contracts $49,124 $120,854 $169,506 $193,833 $208,051 $216,261

Endowment $0 $0 $0 $0 $0 $0

Total Revenue Sources $3,942,921 $9,322,178 $13,166,061 $15,354,240 $17,297,208 $17,465,679

Table 14A. Smithsonian American Latino museum, First six years operating expenses (continued)

Table 14B. Smithsonian American Latino museum, First six years operating Revenues
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A Report to the President and Congress of the United States

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Recommendation

Table 15. Capitol site: Preliminary capital budget

Activity Cost

Site and Building Envelope $156,482,500

Exhibit and Theater Costs $50,000,000

Design and Management Fees $31,113,582

Miscellaneous Expenses $12,388,950

Furnishings and Equipment $6,000,000

Start Up and Opening Costs $31,045,124

Off-site Facility $32,333,100

Construction and Contingency $79,840,814

Total Project Budget (2011 dollars) $399,204,070

TOTAL PROJECT BUDGET 

(2016 dollars — escalated at 3% annually)

$463,076,720

Table 16. Arts and industries building with south

annex: Preliminary capital budget

Activity Cost

Site and Building Envelope $252,196,750*

Exhibit and Theater Costs $50,000,000

Design and Management Fees $45,710,005

Miscellaneous Expenses $18,131,805

Furnishings and Equipment $6,000,000

Start Up and Opening Costs $31,045,124

Off-site Facility $17,150,000

Construction and Contingency $105,058,421

Total Project Budget (2011 dollars) $525,292,104

TOTAL PROJECT BUDGET 

(2016 dollars — escalated at 3% annually)

$609,338,841

Table 17. Arts and industries building with north

annex: Preliminary capital budget

Activity Cost

Site and Building Envelope $163,332,000

Exhibit and Theater Costs $50,000,000

Design and Management Fees $32,158,130

Miscellaneous Expenses $12,799,920

Furnishings and Equipment $6,000,000

Start Up and Opening Costs $31,045,124

Off-site Facility $26,541,200

Construction and Contingency $80,469,094

Total Project Budget (2011 dollars) $402,345,468

TOTAL PROJECT BUDGET 

(2016 dollars — escalated at 3% annually)

$466,720,742

* includes $16,000,000 estimated cost for demolition of 

Forrestal Building.
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

Sylvia Puente

Executive Director of

Latino Policy Forum

“What I want is our presence on the 

Mall in Washington DC, so we have a 

full integration of who we are as U.S. 

Latinos in our nation’s capital. The 

National Museum of the American 

Latino will be a way of saying we are 

here, we are American, we belong, 

and this is what it looks like — brown, 

red, yellow, black, white. Because, 

ultimately, as much as I’m an advocate 

for the Latino community, and as 

much as this museum will represent 

the face of that community, to the 

rest of the world we are rooted 

together as neighbors and our fates 

are intertwined. People fail to see 

often times that, with the growth of 

the Latino community, this nation 

cannot survive economically unless 

we invest in the Latino community 

and unless our children do well.”

The recommended expenses for a stable-state operating budget 

(Table 18) is estimated to be $47.2 million. A stable state operating 

budget is defined as a typical annual operating budget after the 

construction and the initial start-up costs of the museum. In this 

scenario, the third year of operation of the museum is considered a 

stable state year.

Table 18. Recommended expenses for a stable-state operating budget

Year 3 Percent of

Total

Expenses

Business Activity $4,147,332 9%

Public Programs $9,324,395 20%

Exhibitions $8,867,477 19%

Collections Activity $1,655,136 3%

Research $5,779,655 12%

Facilities $1,790,756 4%

Security $2,341,120 5%

Information Technology $3,913,545 8%

Operations $5,100,538 11%

Development Operating Fund Raising $3,073,152 7%

Other: SI Admin/Planning Costs $1,112,923 2%

Total $47,106,029 100%

Revenue Source

Federal Appropriation $18,842,411 40%

Trust Allocation $471,060 1%

Unit Unrestricted Trust $1,413,181 3%

Unit Business Activity $1,015,000 2%

Gifts and Nongovernment Grants and 

Contracts

$24,848,012 53%

Government Grants and Contracts $612,378 1%

Total $47,202,042 100%

Juan José Peña 

State Commander for the 

American GI Forum

“I want to emphasize that Spain 

helped the United States to get 

its independence. We are not only 

immigrants, we helped the United 

States become the nation that it 

is. I want to see the military history 

included in the museum. We have 

participated in this country since 

the beginning.” 
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

DISCUSSION

PRELIMINARY CAPITAL BUDGET

The preliminary capital budgets are an estimate of the overall capital costs 

to build the museum on the preferred sites. The first total project budget 

amount given is shown in 2011 dollars (the actual costs will depend on the 

construction date of the museum). The second total project budget amount is 

shown in 2016 dollars, with an estimated escalation of 3 percent annually. The 

estimated cost categories are as follows:

•	 construction of 

— Capitol Site: a new quality building of 251,645 gross square feet plus 

an offsite collections maintenance and storage facility of 107,777 gross 

square feet

— Arts and Industries Building with South Annex: building 

renovation of 394,095 gross square feet

— Arts and Industries Building with north Annex: building 

renovation of 283,590 gross square feet

•	 site development, including site utilities, landscaping, and service and 

public access roads

•	 exhibit and theater, including exhibit design, fabrication, and installation 

costs; auditorium/performance space and orientation theater; and 

contingency (estimated at 25 percent)

•	 design and management fees that are typical for Smithsonian museum 

projects, including architecture and engineering design; architect/engineer 

construction administration; construction management; and commissioning

•	 miscellaneous expenses, including testing during construction, clerk of 

the works, and special consultants for lighting, acoustical design, security 

systems, data systems, and reimbursable expenses

•	 furnishings and equipment for offices, food services, stores, exhibit 

support, collection storage systems, and other areas

•	 startup and opening

•	 off-site facility

— Capitol Site: 107,777 gross square feet

— Arts and Industries Building with South Annex: 49,000 gross 

square feet

— Arts and Industries Building with north Annex: 75,832 gross 

square feet

•	 construction and contingency (25 percent)

Estimated annual operating costs

The early projections are meant to bring perspective to the planning process. 

They were modeled on available data provided by the Smithsonian regarding 

existing operating revenue and expense figures. The projections do not 

constitute a detailed business plan because they do not consider potential 

attendance and other key expense and revenue drivers. Such a planning 

process will be undertaken in the next phase of work.

Bobby Lefebre

Spoken Word Artist and 

founder of Cafe Cultura 

“American Latinos have always been 

an integral force in the development 

and construction of our nation’s 

culture and identity. Our hands wear 

the same calluses, our hearts are 

home to the same American dreams, 

and our legacy is one of pride.

As a poet, I understand the 

importance of the oral tradition. We 

carry our culture on our tongue, so 

no matter where we were, we have 

our stories, history and experiences 

ready to share with anyone willing 

to listen. There is beauty in mobile 

history; however, it has been said 

that there is no place like home. The 

creation of the National Museum of 

the American Latino would be just 

that — our home. If home is where 

the heart is, there is no better place 

for our home than the heart of our 

nation’s capital.”
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

KEY ASSUMPTIONS

Assumptions are planning tools that helped shape the final operating cost 

projections. The following key assumptions are from the report titled, 

“Strategy to Develop Museum Mission, Vision, and Programs.” 

Governance

•	 The American Latino museum will be part of the Smithsonian Institution.

Location and Facilities

•	 The site for the museum will be on or adjacent to the National Mall in 

Washington DC.

•	 The new site will position the museum in an area close to transit routes, 

making it highly visible to passers–by.

•	 The museum’s building will be fit to serve as a museum, following 

established museum standards for climate control, collection handling and 

storage, and security.

•	 The total space for the program is estimated to be 310,000 square feet.

— This estimate includes a grossing factor of 40 percent.

— Gallery space is estimated to be 97,000 square feet.

— Performance, social, and learning spaces are considered critical to the 

mission and have been included.

— Off-site collection storage is assumed.

Operating Fundamentals

•	 The basic operating structure will be similar to other Smithsonian 

museums; specifically,

— admission will be free to all.

— the total number of public hours per week will be in line with other 

Smithsonian museums.

— there will be similar proportions of revenue, with a significant percentage 

of the operating budget derived from a federal appropriation.

•	 Debt service and capital improvements are not included.

•	 Collection purchases and acquisition budgets are not assumed as part of 

the operating budget.

Financial projections are subject to the inherent uncertainties of the future. 

It is thus impossible to guarantee that the projections resulting from these 

assumptions will be realized in whole or in part. Moreover, the projections 

may be subject to modification based on changed assumptions and future 

circumstances. Nonetheless, the operating budget projections set forth in this 

chapter are reasonable.

María Balderas

Chicago Workforce 

Investment Council

“This idea of a national museum 

for Latinos is incredible, really 

amazing. It would be a great way to 

showcase our culture, our history, 

and our innovations — how we have 

contributed to this country. There 

is a lot of anti-immigrant sentiment; 

this will be an opportunity to really 

show our history, our culture, the 

diversity within our communities. 

I think it would be a great idea.”
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Operating Budgets from Comparable museums

Given the incipient stage of development for the American Latino museum, 

projections can only be considered order of magnitude, based on gross 

square footage for eight Smithsonian museums (Table 19) and Holocaust 

museum (the Holocaust museum is included in acknowledgement of its 

strengths in national engagement, programmatic, and research initiatives, all 

three objectives shared with the American Latino museum). The operating 

budgets for year 2009 were provided by the Smithsonian Institution and 

public records, in the case of the Holocaust museum. 

Generally, an operating budget correlates with a museum’s gross square 

footage. However, there are exceptions to this principle based on a museum’s 

particular programming, research, collections activity, exhibitions, and use 

of information technology. This is especially common among Smithsonian 

museums. Details about the exact square footage considered in each of the 

museum’s operating budgets were not provided; therefore, broad categories 

of size were used instead so that a size-to-budget correlation could be 

incorporated into the analysis. Other factors that were accounted for were 

(1) individual variations in operating budgets among museums in each size 

category; (2) individual variations in budget proportions among museums in 

each size category; and (3) mission-driven expenses assumed for the American 

Latino museum, impacting business activity, public programs, exhibitions, 

collections activity, research, information technology, and development. 

Table 19. EXAMPLES: OPERATING BUDGETS FOR NINE MUSEUMS

Smithsonian Museums Year 2009 

Operating Budget

National Museum of Natural History $76,291,704

National Museum of the American Indian $45,613,691

National Air and Space Museum $37,943,116

National Museum of American History $34,443,505

Freer Gallery of Art and Arthur M. Sackler Gallery $17,166,261

Hirshhorn Museum and Sculpture Garden $8,258,082

National Portrait Gallery $8,020,962

National African Art Museum $5,871,532

Other Federally Funded Museum

United States Holocaust Memorial Museum $88,975,512

John Rose

Head of CHoral Department 

at Coral Reef High School

“I think the American Latino museum 

would be a great experience for the 

whole country. I grew up in Miami, 

and throughout this time, I came to 

fall in love with Latino music, Latino 

culture, and the food. I have my 

students work and study with famous 

Latino musicians and composers 

around the world. I find this 

experience has made them stronger; 

made them experience what is 

special about other cultures.”

Jesse Ruiz 

Chairman of the Illinois

State Board of Education

“This museum will be an embodiment 

of my father’s life and others like 

him who came to this country and 

sacrificed and became Americans 

and gave birth to a new generation 

of Americans.”
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

Projected Operating Budget 

The projected operating budget for the American Latino museum is presented 

in Table 20.

Pedro Windsor

American Bar Association

“The museum is timely. Latinos are 

the youngest and fastest growing 

segment in America. The reality 

is that when the American Latino 

succeeds so will America. We have 

to capture, we have to cherish, and 

we have to commemorate the rich 

history of Latinos in this country. 

The museum should capture the 

vast diversity that is the American 

Latino. We are white, black, 

brown, and every shade of color 

in between. We are Republicans 

and Democrats; Christians and 

Jews — the fact is that Latinos 

cross every ethnic, racial, religious, 

and ideological threshold that you 

can imagine. And within this vast 

diversity, there are also key issues 

that unite all Latinos in America. It is 

of paramount importance that this 

museum happens. As I envision it, it 

will be a place that encapsulates our 

individual and collective experiences: 

who we are, what we are, where we 

come from, and how we are moving 

forward to contribute to America.”

Table 20. PROJECTED OPERATING BUDGET FOR THE AMERICAN LATINO MUSEUM

Expenses Stable Year Percent of Total Budget

Business Activity $4,174,332 9%

Public Programs $9,324,395 20%

Exhibitions $8,867,477 19%

Collections Activity $1,655,136 4%

Research $5,779,655 12%

Facilities $1,790,756 4%

Security $2,341,120 5%

Information Technology $3,913,545 8%

Operations $5,100,538 11%

Development $3,073,152 7%

Other $1,112,923 2%

Total $47,106,029 100%

The projected budget of $47.1 million includes adjustments based on the 

unique characteristics of the museum’s programmatic scope. The unique 

characteristics include (1) forwarding the national discourse, (2) extensive 

public programming, (3) a nationally respected research library, and (4) the 

highest level use of innovative technology. 

In addition, a grant-making program is envisioned to support existing local and 

regional museums, cultural centers and educational institutions. The national 

scope and reach of the American Latino museum can be more fully realized 

through a dynamic relationship with the community of museums. Dedicated 

funding for this purpose would be managed in coordination with the Institute 

of Museum and Library Services. 
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Forwarding the National Discourse: The American Latino museum 

will be engaged with institutions and communities nationwide. Given that 

the research capabilities of the museum would exceed those of existing 

institutions, they could activate a national corps of ethnographers, 

through grants and fellowships, to move through the country documenting, 

collecting, and so forth. This research would then be shared, through 

publications, national conferences, the Internet, and other scholarly 

avenues to create a dialogue with the field.

Public Programming: The American Latino museum will have a heavy 

calendar of public programming, including exhibitions, national level 

festivals, teaching programs, web-based initiatives, performances, and other 

programs. The range for programming expenses is between $1.7 million and 

$9.3 million. For the purposes of this study, the American Latino museum 

would seek a high level of national engagement considerations estimated at 

$9.3 million. 

Research: The American Latino museum will mirror institutions like the 

Holocaust museum in its own research mission, with a library and archive 

and oral history and field research programs for scholars and curators on 

staff. Therefore, its research budget will reach the high end of the range, at 

$5.8 million. 

Information Technology: The American Latino museum’s visitor 

experience, research, and exhibitions will depend on innovative technology 

to showcase best practices among museums internationally. It is reasonable 

that Information Technology will be at the higher end of the range, at $4 

million.

Thomas A. Sáenz 

President and General 

Counsel for Mexican 

American Legal Defense and 

educational Fund 

“This first step for the creation of the 

National Museum of the American 

Latino is long overdue. Latinos have 

a long history in this country that 

even predates the existence of it as a 

nation. MALDEF gladly and proudly 

supports the creation of the National 

Museum of the American Latino. It is 

important that this museum reflect 

all national Hispanic stories. From its 

beginning it should be a museum that 

includes everyone, that is accessible 

to anyone regardless of what 

language they speak. This should be a 

museum that recognizes that Latinos 

are a key part of the future of our 

nation. It should look to create and 

support art, culture, and activism that 

would help the future generations. 

We have to tell them we are part 

of America — we are America’s 

past, present, and future. It is an 

undeniable fact.”
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

COLLECTION AND PROGRAM COSTS

An acquisition budget, fund, or endowment is the money 

that is set aside to purchase or acquire new collection 

items. It is generally not considered part of the operating 

budget but, rather, is treated as a separate fund or 

expense (such as capital improvements). No rule exists 

for projecting an acquisition budget, either for a new or 

established museum that is committed to actively growing 

the collection. Acquisition costs for the American Latino 

museum will likely include

•	 purchases from collectors, dealers, and auction houses

•	 purchases or commissions from artists (visual, 

performing, literary)

•	 relocating and conserving artifacts

•	 funding for research that will build archives 

and collection

•	 long-term loan agreements

•	 field research and artworks for a new building

The Commission’s report, “Strategy to Develop Museum 

Mission, Vision, and Programs,” presents recently 

established national museums and their permanent 

collection program strategies and describes what can 

be learned from them. These examples shed light on 

a range of spending and helped form the basis for the 

Commission’s recommendations for collection and 

program costs. Table 21 summarizes spending on 

collections and programs at the five relevant museums. 

All data is for fiscal year 2009, except the Holocaust 

museum, which is 2008.

Table 21. OVERVIEW OF SPENDING ON COLLECTIONS AND PROGRAMS AT RELEVANT INSTITUTIONS

Museum Collections Exhibitions Public

Programs

Research Total* Total 

Operating 

Budget

United States Holocaust 

Memorial Museum

$27,892,408 $7,198,041 $35,090,449 $89,975,512

National Museum 

of American History

$9,299,746 $9,988,616 $6,888,701 $5,166,525 $30,999,154 $34,443,505

National Museum 

of the American Indian

$5,473,643 $6,842,054 $13,684,107 $3,649,095 $28,736,625 $45,613,691

National Museum of African 

American History and Culture

$2,582,800 $1,420,540 $1,420,540 $258,280 $5,682,160 $12,914,000

Freer Gallery of Art and Arthur 

M. Sackler Gallery

$2,059,951 $3,261,590 $2,231,614 $2,918,264 $10,471,419 $17,166,261

Percent of each museum’s spending dedicated to collections, exhibitions, public programs, and research

United States Holocaust 

Memorial Museum

31% 8% 39%

National Museum 

of American History

27% 29% 20% 15% 90%

National Museum 

of the American Indian

12% 15% 30% 8% 63%

National Museum of African 

American History and Culture

20% 11% 11% 2% 44%

Arthur M Sackler Gallery / 

Freer Gallery of Art

12% 19% 13% 17% 61%

Note: *This total is just for collections, exhibitions, public programs, and research staff.
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A Report to the President and Congress of the United States

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Based on the museums examined in table 21, and other data presented in the 

Commission’s “Strategy to Develop Museum Mission, Vision, and Programs” 

report, it is recommended that the American Latino museum set aside the 

following for establishing its collection:

•	 Pre-opening collections development — $3 million annually for five years 

before opening (total of 

$15 million)

•	 Annual acquisitions budget for first three years — 

$3 million per year (total of $9 million)

•	 Ongoing annual acquisitions budget — $1 million per year

It is recommended that the American Latino museum allow a combined 

budget for both collections and programs as follows:

•	 Pre-opening budget for collections care, exhibitions, programming, 

and research — $8 to $10 million annually for five years before opening 

($40–$50 million total). These funds will underwrite significant research 

and engagement with existing museums to inform the development of core 

exhibitions and programs.

•	 Annual operating budget for collections care, exhibitions, programming, 

and research — $30 million per year. While the precise split between 

collections, exhibitions programs, and research cannot be determined at 

this early stage, it is expected that public programming (on a national level) 

and the research center would each need at least 15 percent of the total 

museum operating budget.

Araceli Campos

Mexican American Legal 

Defense and Educational 

Fund (MALDEF) 

“I have always been interested 

in history, and although I am an 

attorney, I still considered myself an 

historian. So, I have always wanted 

to know where we come from 

and what made the United States 

what it is today. There is a lot of 

misunderstanding in this country 

about our history. This museum will 

increase the understanding of people 

and the history in this country. Most 

people in the United States don’t 

have an accurate perception of 

Latinos, we are much more than what 

we are perceived to be.”

Olga Garay

Executive Director 

Department of Cultural 

Affairs, City of Los Angeles

“It is really important that aside from 

being a depository for history and 

culture that the museum be a living, 

breathing laboratory where artists 

can be nurtured.

The museum has to have the highest 

standards of artistic excellence. It 

must be elegant so that we get a 

sense of depth and breadth of the 

Hispanic culture. It has to be dynamic 

and alive with activities.”
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National Museum of the American Latino Commission 

Chapter 7: Capital and Operating Budget 

ESTIMATED annual REVENUE

The method used to analyze projected operating revenue was similar to that 

used to project operating expenses. That is, a correlation between gross 

square footage and operating revenue is assumed, based on occupying a new 

310,000 sq. ft. facility. This projected break-even budget of $47.2 million, that 

may take 10-15 years to reach, anticipates an annual federal appropriation, as 

received by all museums of the Smithsonian Institution. TABLE 22 shows how 

the estimated $47.2 million in revenue was derived. 

Table 22. Estimated annual revenue

Source Year 3 Percent of

Year 3

Federal Appropriation — One Year $18,842,411 40%

Trust Allocation $471,060 1%

Unit Unrestricted Trust $1,413,181 3%

Unit Business Activity $1,015,000 2%

Gifts and Nongovernment Grants and 

Contracts

$24,848,012 52%

Government Grants and Contracts $612,378 1%

Total $47,202,043 100%

Deborah Dones

Disabled Military Veteranas

MujeresVeterans-Puerto Rico

“This museum must showcase Latina 

veterans because we also died in 

combat defending our values and our 

country. Just like the men, we fight! 

We may be beautiful, intelligent, and 

pretty, but we still serve our nation, 

just like men!”

Dr. Roberto 

MondragÓn

Chair of the National 

Hispanic Cultural Center 

and former Lieutenant 

Governor of New Mexico

“The museum should include every 

aspect of culture, including language, 

as well as folklore and music.”
FUNDRAISING PLAN

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A Report to the President and Congress of the United States

To Illuminate the American Story for All

FUNDRAISING PLAN

Recommendation

The results of the fundraising feasibility study for the 

American Latino museum indicate that a private-sector 

fundraising goal of $300 million, based on a projected 

$600 million total cost, with a 50-50 split between 

private-sector donations and federal congressional 

appropriations, is achievable over a 10-year span. 

Accordingly, the study recommends a 10-year capital 

campaign to provide the museum with sufficient time 

to cultivate key prospects and successfully close pacesetting gifts in the million and multimillion dollar range 

during the earliest active fundraising stages. Such a 

process — from cultivation to successful closure — 

takes, on average, six or more contacts over a period of 

at least 24 months. 

As is true of many young projects, the American Latino 

museum will require an aggressive awareness campaign 

to ensure that potential prospects understand its role and 

scope. Accordingly, it is critical that those in charge of the 

fundraising effort design and develop a comprehensive 

communications strategy during the Preparatory Phase 

(that is, during Years One and Two) that encompasses 

multichannel awareness building. 

Fundraising leadership must include those who 

have distinguished themselves in the corporate and 

fundraising realms, as well as recognized philanthropists. 

The leadership must be well respected in the Latino 

community, trusted, and recognized as being “within 

the family,” but must also be able to command respect 

among fundraising prospects outside the Latino 

community. Given that Latino wealth tends to be less 

public, the fundraising leadership team will need to hold 

conversations within this typically tight-knit community 

to identify these individuals and encourage them to step 

into the leadership realm of philanthropy for the museum.

Facing Page:

Caban Group

Los Reyes Magos (The Three Magi)

Smithsonian American Art Museum
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National Museum of the American Latino Commission 

Chapter 8: Fundraising Plan 

DISCUSSION

FIRST STEP: GATHERING INPUT

Fifty-five interviews were conducted across the country 

to test the potential for raising funds. Foundations, private 

wealth individuals, corporations, and community leaders 

were interviewed. Other data was gathered from surveys, 

research, and meetings. A complement to the interviews 

were the presentations given by the Commission in San 

Francisco, during the Hispanic Association of Corporate 

Responsibility meeting of corporate leaders, and in San 

Antonio, during the National Council of La Raza meeting 

of its Corporate Board of Advisors. 

The 55 interviews were conducted in Washington 

DC, Dallas, Miami, Salt Lake City, New York City, 

Los Angeles, Chicago, and San Antonio. Interview 

candidates were found through research and input 

from the Commission; this effort produced over 250 

nominees. Letters were sent to 95 interview candidates, 

resulting in the 55 interviews. 

Meetings were held with representatives from the 

American Indian museum, African American History 

museum, Smithsonian Institution Office of Development, 

and American Association of Museums. The Smithsonian 

Office of Development was interviewed for its insight into 

funding sources and sustainability and to exchange ideas. 

The American Indian museum and the African American 

History museum were interviewed to gather input 

regarding what each had experienced in its fundraising 

efforts and what advice they would have for the proposed 

American Latino museum. 

A range of thoughtful input was received during 

the interviews and meetings. The findings and 

recommendations summarized in this chapter are the 

result of that input, coupled with data collection from 

research, surveys, and industry experts and an analysis of 

nationwide trends. 

THOUGHTS EXPRESSED DURING THE INTERVIEWS 

The majority of interviewees who embraced the concept 

of having a Latino museum were unanimous that the 

museum should be in Washington DC — the nation’s 

capital, and on the National Mall — the “Main Street” of 

the nation. Several interviewees expressed the opinion 

that if the museum was not on the National Mall, it should 

not be built. Also, interviewees were nearly universal in 

their encouragement, indeed their expectation, that the 

museum would be part of the Smithsonian Institution. 

Being part of the Smithsonian is believed to add 

credibility and financial infrastructure — two elements 

that challenge many young museums and cultural 

institutions as they are being created. Interviewees 

expressed concern about the American Latino museum 

being able to establish and sustain itself absent a 

Smithsonian relationship. 

Thoughts regarding the composition and content for 

the American Latino museum differed by individual. The 

variety of cultures and immigration experiences of the 

broadly defined Latino community was highlighted as 

both a challenge and an opportunity for the museum and 

was reflected in questions about how the museum and its 

collection would be organized. 

Some individuals with ties to local and regional Latino/

Hispanic museums and cultural centers challenged 

whether the American Latino museum would collaborate 

and partner with them or create competition for limited 

private support. Many of these cultural centers and 

museums have faced financial difficulties in the recent 

years of recession. 

Several representatives of local and regional Latino/

Hispanic museums and cultural centers expressed 

a desire to partner with the proposed museum. The 

American Latino museum is seen as having the potential 

to create linkages among and between the local and 

regional institutions by developing traveling exhibits and/

or programs, which their own financial resources might 

not allow. Through such collaborations, they expressed 

hope that the museum could serve to build awareness of 

similar regional institutions across the country.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

FINDINGS AND CONCLUSIONS

The Commission has determined that a private 

fundraising goal of $300 million, based on an overall 

$600 million total cost figure, with a 50-50 split between 

private donations and congressional appropriations is 

achievable over a 10-year span. To achieve this goal, the 

museum will require an aggressive and comprehensive 

public awareness campaign to secure the estimated 

$300 million from private sources. The 50-50 privatepublic split and the public awareness campaign are key 

elements that will increase the likelihood of success. As 

expected for a project in its infancy, there are challenges 

to overcome. One of the most pivotal requirements 

is that the museum leadership must embark on a 

comprehensive campaign to build awareness for this 

project. During the study, few interviewees were 

independently aware of the proposed museum. In most 

cases, the case prospectus provided interviewees 

with the first detailed introduction to the museum’s 

aspirations and goals. “There’s been talk going around 

about a museum for years. Is it really happening?” This 

highlights the pressing need for a full-scale campaign to 

promote awareness for the museum.

The majority of those who embraced the concept 

of having a Latino museum were unanimous that the 

museum should be in Washington DC, and on the Mall — 

the “Main Street” of the nation; “I feel very strongly that 

it must be in Washington DC and as close to the Mall — if 

not on the Mall — as possible.” They were nearly universal 

in their encouragement, indeed their expectation, 

that the museum would be a part of the Smithsonian 

Institution. “Being part of the Smithsonian makes it more 

mainstream as opposed to being an appendage.”

As expected of a diverse community, the interviewees 

expressed differing views about the potential 

composition and content of the museum, as well as the 

use of the words “Latino” and “Hispanic.” Many saw the 

potential strength of the proposed museum as providing 

a forum to educate those from across the country and the 

world about the role Latinos have played in the United 

States. “When I leave this museum, I want to feel that I am 

proud to be an American of Latino descent.” 

During the study, interviewees discussed the feasibility of 

raising the entire $600 million from private sources. The 

majority of those participating believe that the museum 

should receive a comparable public/private funding 

arrangement as those received by the American Indian 

museum and the African American History museum. “If 

you’ve done it [federal funding] for others, why not for this?” 

The study tested the potential for raising funds from 

foundations, private high-wealth individuals, corporations, 

and the broader public. Data collection included interviews, 

surveys, research, and meetings. Commission presentations, 

made in San Francisco during the Hispanic Association 

of Corporate Responsibility meeting of corporate 

leaders and in San Antonio during the National Council 

of La Raza meeting of their Corporate Board of Advisors, 

complemented this study with positive results. 

Corporate support is anticipated to be a significant 

component of the campaign and may present upwards of 

40 percent or more of the total raised, which would include 

contributions as well as marketing or sponsorship funding 

for the museum. Foundations are anticipated to provide 

5 to 10 percent of the campaign funding, as few foundations 

will consider capital grants to build projects or provide 

for an endowment. However, the nature of the proposed 

museum does offer unique opportunities to pursue select 

foundations that will consider bricks-and-mortar proposals. 

Of those contacted, three foundation representatives 

indicated they could give consideration to proposals up to 

$1 million for the museum building. Several commissioners 

identified potential fundraising prospects in what they 

estimate to be in the range of $10 million and $25 million. 

The feasibility study also included a survey used to gauge 

interest in the proposed museum among individuals with 

disposable income for philanthropic support; specifically, 

individuals across the United States whose reported income 

is equal to or exceeds $100,000 per year. The 520 responses 

highlight the urgent need to build public awareness for the 

project during the earliest stages of the capital campaign. 
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National Museum of the American Latino Commission 

Chapter 8: Fundraising Plan 

SUMMARY OF FUNDRAISING 

CAMPAIGN BUDGET

Industry standards for best practices were used to 

develop the campaign budget within the context of a new 

museum that does not have an historical prospect base 

and is still defining its scope and content. The standard 

cost per campaign dollar raised for a mature fundraising 

program is estimated to be at least 15 cents per dollar 

raised. For young, less-established programs, the cost 

estimate increases to at least 25 cents per dollar raised, 

and costs for a new enterprise often reach 30 cents per 

dollar raised or more. 

The $75 million (based on 25 cents per dollar raised) 

projected for the American Latino museum reflects 

the expenses to establish infrastructure, such as 

purchasing and populating an information/data system, 

communication expenses to build awareness, expenses 

related to list purchases, and the basic costs to equip an 

office. The $75 million does not include rent and utilities 

for the fundraising campaign office. 

The campaign budget for the American Latino museum is 

also designed to initiate programs, such as membership, 

that will build a following to sustain fundraising for the 

museum once it opens. 

STAFFING REQUIREMENTS 

It will be critical to employ the most seasoned, 

campaign-experienced chief development officer, 

who will be assisted by a campaign coordinator and an 

executive assistant. 

•	 The chief development officer will be the 

executive officer overseeing all aspects of the 

fundraising campaign.

•	 The campaign coordinator will ensure that the 

campaign plan and activities are being implemented.

•	 The executive assistant will handle the office, 

schedule, and such matters as correspondence for the 

chief development officer.

Major Gift Staffing

This category includes corporate and foundation gifts 

that can be in the million-dollar range. The frontline 

development officers (or gift officers) will be required 

to quickly identify, qualify, and cultivate prospects 

for the gifts. The campaign standards for major gift 

campaigns have established the expectation of 5 to 7 

major gift officers for every $100 million to be raised (this 

anticipates at least 100 contacts per year and a portfolio 

of 100 to 150 prospects). That would be a minimum of 

15 major gift officers for the museum, based on the $300 

million fundraising campaign goal. 

The gifting strategy can be summarized as follows:

•	 A $300 million campaign will require 600 gifts of 

$100,000 and up.

•	 Four prospects are needed for each donor.

•	 Every prospect will require up to six or more contacts 

with staff prior to committing. 

•	 Six hundred gifts will require 2,400 prospects 

and approximately 15,000 contacts. Prospects 

requiring qualification should assume a greater 

number of contacts.

Recognizing the significant role that corporate giving is 

expected to play, it is recommended that three of the 

gift officers be focused on corporate relations and two 

officers dedicated to foundation relations. At least one 

grant/proposal writer is recommended to support the 

gift officers so they can spend more time in the field 

identifying, cultivating, and soliciting prospects. There 

should be one assistant for every two gift officers and one 

researcher for every four gift officers. 

Advancement Services Staffing

Advancement Services will support the fundraising 

campaign by establishing a viable information system; 

inputting data received from various sources to build the 

prospect database; processing gifts, memberships, and 

pledge reminders; and creating and running repeatable, 

quality reports that offer information on the campaign’s 

progress and prospects.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

It is recommended that Advancement Services consist 

of a six-person office, which may need to be increased 

as the number of gifts mounts. The senior information 

officer, or advancement services director, would be 

supported by at least one programmer/analyst. Gift 

processing and data processing are each budgeted for 

two staff positions. 

A critical element for both the fundraising campaign, as 

well as for the future sustainability of ongoing fundraising, 

is the establishment of a membership program, even 

as the museum building campaign is underway. The 

membership program will require two positions to build 

the program and extend ownership of the museum to 

everyone through membership dues.

FUNDRAISING CAMPAIGN EXPENSES

Travel and Event Expenses

The travel and event budget needs to be substantial to 

allow for the intense and repeat prospect contact that 

will be required, both nationally and internationally. 

A budget in the $8 million range is estimated over the 

10 years of the campaign for travel and events, which 

includes $500,000 for some form of gala kick-off and 

$500,000 for the grand opening. Corporate gifts-inkind may be anticipated to offset some portion of the 

event expenses. 

Communication Costs

Communication costs are projected to be $18 to $19 

million, which represents the largest overall campaign 

operating expense. The costs are for the case brochure, 

case collaterals, campaign newsletter, and membership 

mailings. One-half of the communications budget reflects 

membership drive expenses, anticipated to total at least 

$10 million over the 10-year fundraising campaign. 

Information System

An information system is estimated at $100,000 for the 

initial purchase, plus an annual maintenance license. 

An upgrade over the 10-year period is anticipated and 

estimated at $50,000. The prospects should be reviewed 

regularly during the campaign. This effort will cost about 

20 cents per record and is budgeted at $20,000 (based 

on 100,000 records per screening). The annual license 

fee is $3,000, with an increase to $3,500 during the latter 

years. These budget items are based on current actual 

costs for such services.

Other Expenses

Other expenses include gift/membership processing 

(charge card fees), website development and 

maintenance for the gift site, and costs to purchase 

office equipment, general office supplies, and services. 

It is recommended that consulting services be procured 

for ongoing campaign and systems support. The 

recommended budget is 0.2 percent of the campaign 

dollar goal or approximately $600,000.

SUSTAINABILITY

The American Latino museum will require a long-term 

comprehensive, sustainable development program that 

focuses on building donor commitment and loyalty. The 

museum will need to secure philanthropic support to 

maintain the museum and keep the museum’s programs 

interesting and inviting.

The effort to build a constituency that sustains the 

museum over the years should begin as the capital 

campaign begins. The sources of support for the 

capital campaign to establish the museum will be the 

same for continued funding, but typically, the amount 

of support declines. While corporations will provide 

generous support to establish the museum, the funding 

to sustain the museum will need to come from other 

sources, primarily individuals. After the museum opens, 

corporations will support special projects and exhibits, 

but the level of corporate support will fall more in 

line with the national averages for corporate support. 

Likewise, a number of foundations will provide startup funding, but the relative amount of funding from 

foundations may also decline after the museum opens. 

Corporations and foundations provide philanthropic 

support, typically around 17 percent of all giving in the 

United States, as Figure 19 clearly shows.
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National Museum of the American Latino Commission 

Chapter 8: Fundraising Plan 

Figure 19 emphasizes the fact that individuals provide 

the largest percentage of charitable support from the 

private sector in the United States. These relative 

percentages have fluctuated in recent years, but the 

overall support of individuals has continued to be 

the major source of philanthropic support for more 

than 40 years. With this in mind, an active major and 

planned giving program must be the cornerstone of 

the development program for the museum. Individuals 

usually make significant gifts to the organizations with 

which they have been involved for long periods of time. 

The first gift that a person makes to an organization 

is usually a small one that increases over time. Those 

individuals who make gifts to get the museum started 

must be nurtured and engaged in the museum to ensure 

their continued support. 

It is interesting to note the annual operating budget for 

the Smithsonian Institution for fiscal year 2008. The 

Smithsonian is supported by the various sources of 

revenue displayed in Figure 20, and the distribution 

of support is notably different than what is shown 

in figure 19 for nationwide charitable giving. The 

Smithsonian receives 73 percent of its revenue from 

government sources. The contributions and private grants 

(15 percent) come primarily from individuals. 

Membership

The foundation of every development program begins 

with annual giving, which for a museum is primarily 

its membership program. The key is to start building 

membership as early as possible before the museum 

opens. Membership registration should be available 

online and through mailings, advertising, and phone calls. 

Another way to enlist members is to place effective, 

attention-getting advertisements in such publications 

as the Washington Post and New York Times and with 

television and radio stations. A partnership with a 

publication or set of publications that have a strong 

American Latino following could create an opportunity to 

provide a tangible benefit by becoming a member of the 

American Latino museum while the museum is being built. 

The American Indian museum had success with such a 

partnership, which not only built awareness, but also loyal 

members, even before the museum doors opened. 

During the years the museum is being created, “charter” 

memberships will be offered. This membership provides 

an incentive for individuals to make commitments prior 

to the museum opening. Charter members who maintain 

their membership will always retain that status. After 

the museum opens, the charter membership category 

will no longer be available to new members. There will, 

however, be other levels of membership, with appropriate 

benefits and opportunities for each level. The benefits of 

membership at specific gift levels should be focused on 

the need to build the relationship with the donor. While 

tangible benefits, such as publications, are important, 

the intangible benefits (such as feeling special and having 

access) are more important. There will also be a plan to 

maintain members once they are enrolled. 

Major Giving

Opportunities for major gifts ($10,000 and above) will be 

identified on a continuous basis and will be presented to 

donors with interests that align with specific projects and 

programs. The reason is that some people may choose not 

to support the building of the museum but will instead want 

to support other aspects, such as collections or educational 

programs. These opportunities will help the museum 

continue its mission by supporting innovative ideas to keep 

the museum exciting and inviting after it opens. Opportunities 

for these types of gifts will need to be made available during 

the campaign and also after the museum opens.

Planned Giving

Planned gift options will be made available to donors 

from the beginning of the capital campaign and after the 

museum opens. Examples of planned gifts are naming the 

museum as beneficiary of insurance or retirement plans 

or making a provision in a will. Approximately 75 percent 

of planned gifts are made through wills. 
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

Figure 20. Fiscal year 2008 sources of revenue for the 

Smithsonian Institution

Federal 

Appropriations 

60%

Business

Ventures

4%

Investment

Earnings

5%

Other

3%

Government 

Grants and 

Contracts

13%

Contributions and 

Private Grants 

15%

Source: Smithsonian Institution Annual Report FY2008

Individuals

$227.41

75%

Foundations

$38.44

13% Bequests

$23.80

8%

Figure 19. A TOTAL OF $303.75 BILLION FOR CHARITABLE

GIVING NATIONWIDE IN 2009

Source: Giving USA FoundationTM/GIVING USA 2010

Corporations

$14.10

4%

Endowment

One of the most important strategies for long-term 

sustainability of the museum is to build its endowment. 

Dollars designated by a donor for endowment and 

dollars designated by the organization’s board, which 

is quasi-endowment, will both provide a steady stream 

of annual revenue for the museum. Museums often 

conduct campaigns specifically for endowment. The 

American Indian museum already has an endowment 

of $25 million, only five years after the opening of the 

museum, and is planning a campaign to raise significantly 

more for the endowment.

Strategies to build the endowment will be developed as 

soon as possible after the museum is approved. In some 

campaign efforts, a percentage of all dollars raised may be 

designated for an endowment fund. The percentage may 

be small, such as 1 or 2 percent, but it provides an initial 

endowment fund that can grow over time. The museum will 

consider such a plan to begin its endowment as it secures 

funding for establishing the museum. The fundraising 

campaign goal could be increased by 2 percent to provide 

an initial endowment. For a $300 million effort, the goal 

would be increased to $306 million, with $6 million being 

set aside for endowment. 

TIMELINE FOR FUNDRAISING CAMPAIGN

The timeline recommended for the campaign would 

extend over 10 years, with four focused phases; the 

phases are summarized from the detailed “Fundraising 

Feasibility Study.”

PREPARATORY PHASE 1: Years 1 and 2 

For a successful campaign, the following must be 

undertaken during the preparatory phase:

•	 Hire a chief development officer; major gift 

fundraisers, among others; and develop a 

major gift and fundraising infrastructure for a 

successful campaign.

•	 Recruit strong, well-respected leadership for the 

campaign’s chairs and national committee.

•	 Develop a broad and deep prospective donor list; 

develop appropriate strategies for the leadership and 

major gift prospects.

•	 Develop a campaign communications strategy, 

encompassing multichannel awareness building.
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National Museum of the American Latino Commission 

Chapter 8: Fundraising Plan 

LEADERSHIP GIFT PHASE 2: Years 2 through 3

The focus will be on cultivating and soliciting top 

campaign gift commitments in the high seven-, eight-, 

and nine-figure ranges from individuals and in the 

high six- and seven-figure ranges from corporations 

and foundations. These gifts will set the pace for the 

campaign, validate the museum and effort, and establish 

benchmarks against that which others will measure their 

own commitments. Activities to be pursued during this 

phase include the following:

•	 Continue building awareness about the museum and 

the opportunities it will provide. 

•	 Create small gatherings, or salon-type forums, for 

high-end prospects. 

•	 Solicit sizable campaign gift commitments from 

all members of the national committee and others 

involved on earlier committees or commissions related 

to the project.

•	 Continue to expand the number of qualified 

leadership and major gift prospects.

MAJOR GIFT PHASE 3: years 3 through 6

The cultivating and soliciting of campaign gift 

commitments will be sustained at all levels.

•	 Focus on gifts of $1 million or more from individuals 

and six-figures or more from corporations.

•	 Pursue prospect identification and qualification for all 

ranges of prospects in preparation for the next phase.

•	 Initiate broader outreach and awareness building 

through group forums and regional volunteer efforts.

•	 Recruit corporate and foundation volunteer 

committees to focus on respective areas within 

the campaign.

•	 Initiate a membership drive for “founding members,” 

with a reason for sustained membership even in 

advance of the museum’s opening.

•	 Evaluate readiness to publicly kick off the campaign’s 

general gift phase and related strategic initiatives.

•	 Plan a bold kick-off event and/or regional events to 

launch the general outreach efforts, broadly announce 

the museum’s goal, and pronounce lead gifts.

GENERAL GIFT PHASE 4: years 6 through 10

The campaign and its fundraising accomplishments will 

advance to a public stage and will seek support from all 

sources, for all levels of giving. The momentum must be in 

place to publically kick off and successfully complete the 

campaign. Some anticipated activities include the following:

•	 Maintain public announcements and updates on the 

campaign, its strategic initiatives/projects, overall 

dollar goal, and total gift commitments to date.

•	 Continue to solicit and secure leadership and major 

gift commitments, potentially returning to those 

who made earlier commitments, asking for their 

consideration of additional support.

•	 Focus on key, yet unfunded, naming opportunities to 

develop focused strategies for high-end prospects, 

including revisiting those who have previously made 

commitments and may be motivated to reach the gift 

level required of the opportunity.

•	 Launch a grassroots campaign focused on individuals 

and community businesses.

•	 Develop donor relations to sustain ongoing gift support 

and to transfer dues-paying membership to become a 

base for annual gift support.

•	 Launch mass-media solicitation and communication 

efforts and prepare for ongoing fundraising requirements.

•	 Plan the gala museum opening and use the opening to 

launch ongoing fundraising.

FROM CAMPAIGN TO ANNUAL GIVING

Every person who makes a contribution to help establish the 

museum should be considered a potential long-term donor. 

Expressing gratitude for all contributions, whether small or 

large, will be critical. Staying in communication with these 

donors and providing opportunities for them to continue to 

support the museum will be central to the campaign.

Many of those who make gifts to the capital campaign will 

have multiyear pledges. Even those who make pledges of 

$500 or $1,000 may choose to make payments over five 

or more years. It will be vital to maintain the support of 

campaign donors by making sure they are asked to consider 

an annual gift immediately following the completion of their 

pledge payment. Keeping excellent records and knowing 

when the final pledge payment is due will be essential in 

converting campaign donors to annual donors.
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A Report to the President and Congress of the United States

To Illuminate the American Story for All

RECOMMENDED FUNDING SOURCES

It is again stressed that development of a comprehensive 

fundraising program be established while the museum is 

being built. The program should include annual giving/

membership, major giving, and planned giving; and 

special projects and endowment opportunities should 

be made available to donors. The funding strategy is 

summarized in table 23.

The fundraising plan must be accompanied by an 

effective public outreach program. The public outreach 

and awareness efforts for the American Latino museum 

are already underway. Those efforts are detailed in the 

next two chapters.

TABLE 23. RECOMMENDED FUNDING SOURCES FOR ONGOING SUPPORT OF THE AMERICAN LATINO MUSEUM

Funding Source Fundraising

Membership / Annual Giving* •	 Membership at various levels with appropriate benefits 

•	 Annual renewal program

•	 Methods to include appeals made online, through advertising, mail, phone calls, and 

personal contact

Annual Giving: Board •	 Annual gifts of size appropriate for leaders of an organization (the Smithsonian requires an 

annual gift of $25,000 or more from its board members)

Major Gifts: Individuals •	 Contributions of $10,000 or more

•	 For specific program or project

•	 May include multiyear commitments

Corporations / Corporate 

Foundations

•	 Corporations and corporate foundations, including but not limited to those supporting the 

capital campaign to establish the American Latino museum

•	 Sponsorships of specific exhibits and programs

•	 Visibility of company may be required

Foundation Grants •	 Foundations, including but not limited to those supporting the capital campaign to establish 

the American Latino museum

•	 Grants for specific exhibits or programs

Federal Funding •	 Appropriated dollars

•	 Grants for specific programs

Planned Giving •	 Provisions in wills

•	 Named beneficiary of insurance or retirement plan

•	 Tangible property for collection

•	 Life-income gifts

•	 Other planned giving vehicles

Donations from Visitors •	 Cash donations at location(s) within the museum

Special Events •	 Special events managed by the American Latino museum

Funding Source Other Activities for the American Latino Museum

Magazine •	 Advertising revenue that exceeds cost of publishing the magazine

Website* •	 Advertising revenue

Travel Excursions •	 Trips, such as those sponsored by other museums and nonprofit organizations, related 

to the mission of the American Latino museum

•	 Priority registration given to donors making significant annual gifts 

Gift Shop •	 Books, souvenirs, gift items

Online Store* •	 Books, souvenirs, gift items

Concessions •	 Net income from restaurant/café

Space Rental •	 Fees established for each space

Note: * These activities should begin as soon as possible — before the museum opens.

Public Engagement

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 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Public Engagement

INTRODUCTION

The Commission made gathering public input a high 

priority while exploring the potential creation of the 

National Museum of the American Latino. From the 

beginning, every decision was tied to the perspective of 

the United States public. The Commission heard from 

thousands of people throughout the entire country. The 

community spoke, and the Commission listened. 

Congress gave the Commission approval to convene a 

national conference on the American Latino museum. 

The Commission, instead, chose to engage the American 

public in a nationwide dialogue about a potential museum 

through a series of public forums and informational 

meetings. Small groups of Commissioners travelled to 

eight cities around the country to gather information 

from community leaders and the general public. The 

Commission’s efforts were represented at many 

conferences of national organizations, and scores of 

interviews were conducted with museum professionals, 

business leaders, and others as part of the research effort 

for this report. The Commission expanded its public 

outreach efforts with a website and an active presence on 

a variety of social media sites. 

IMPLEMENTING 

PUBLIC ENGAGEMENT 

OBJECTIVE 

The objective of the public outreach effort was to engage 

a broad national audience in the idea of a proposed 

American Latino museum and seek input into the 

development of a national museum. 

STRATEGY 

The public engagement took a three-pronged approach. 

First, direct engagement activities included public 

forums targeted at key cities around the country and 

presentations at meetings and conventions of key 

national organizations. Second, television, radio, and print 

media were used to convey the work of the Commission. 

Third, online efforts were effectively utilized, including 

a website and social media avenues such as Facebook, 

LinkedIn, and Twitter. 

Billy Ocasio

Senior Advisor to

Illinois Governor Quinn

“It is a way for us to celebrate our culture, our traditions, and our history. I think it will be a place where 

grandparents can take their grandchildren and tell them this is how it was when we came to this country, 

this is how we are today, and this is what we expect to be in the future.”

Facing Page:

Luis Jiménez  

Vaquero

Smithsonian American Art Museum
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National Museum of the American Latino Commission 

Chapter 9: Public Engagement 

TACTICS 

Several tactics were implemented to successfully generate national support for 

the American Latino museum and to provide input for the Report to Congress, 

including 

•	 engaging local and national American Latino-focused media to publish 

feature news articles on the Commission’s public forums and to drive traffic 

to the website and forums 

•	 soliciting local media to air public service announcements for upcoming 

forums 

•	 promoting the website and the Commission’s activities and latest news 

through relevant social media sites and generating interviews with citizens 

expressing their thoughts on the museum efforts 

•	 promoting forums with online banners and print ads 

HIGHLIGHTS FROM MEDIA OUTREACH 

The Commission created and executed a national communications plan that 

increased the general public’s understanding of a potential museum and 

compelled Latinos, in particular, to become involved in the process. 

The Commission activated the public by generating awareness and interest 

through public forums, traditional media, and online engagement.

The Commission’s media outreach efforts delivered strong results. From March 

2010 through February 2011, the Commission received broad coverage from 

media outlets across the country; the coverage included 

•	 89 print stories (19,556,461 impressions) 

•	 32 print mentions (6,740, 890 readers) 

•	 22 television hits (5,450,000 viewers) 

•	 24 radio hits (321,750 listeners) 

•	 4,410,521 online impressions

•	 36,479,622 TOTAL IMPRESSIONS*

The public communications program of the Commission has continued with 

articles of support in newspapers around the country and through an active 

online social media presence. 

*Media Impressions are the number of individuals who may have somehow seen, 

heard, or read said media.

Bertha Serrano

First Generation MexicanAmerican

“I am a perfect example of what 

an American Latino is. My mom 

passed away when I was 11 and 

along with that died my connection 

to my culture and my history. 

In the U.S., it is very easy to 

assimilate and forget where you 

come from. I struggled trying to 

find my connection to my roots. I

was different from Americans and 

different from other Latinos. I took 

courses in Latin American studies 

and Spanish in college to reconnect 

with my culture. This museum is so 

greatly needed and will help those 

who have lost their culture like I

had.”
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 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

WHAT THE COMMISSION LEARNED 

FROM THE PUBLIC 

THE EIGHT FORUMS 

Public outreach is a critical component for the success of the American Latino 

museum. The Commission convened forums in eight cities across the country 

to convey information about the museum effort and to receive input directly 

from community leaders, civic leaders, business leaders, cultural icons, and the 

general public. This chapter summarizes the eight forums and captures some 

of the thoughts expressed by forum participants.

The main purpose of the public forums, beyond generating awareness, was to 

gather feedback from the general public. The statements that resonated most 

clearly throughout the forums, were 

•	 Latinos are part of the fabric of this nation.

•	 There is an urgency, desire, and need for a museum to highlight and 

preserve this great heritage for the benefit of all Americans. 

The Commission gathered input from the public to understand the 

community’s thoughts about a potential museum, and it examined the 

potential impact of the museum on regional Latino-related museums. 

The eight forums presented opportunities for people to learn more about 

the museum effort, ask questions, and provide comments to help guide the 

process. The response from the public was positive. A long-standing desire 

exists to document the art, culture, and history of Latinos in this country by 

both American Latinos and many other citizens. As the Commission traveled 

the country, they listened to a vast collection of stories. 

Public Forum Locations

Chicago, IL March 27, 2010

Albuquerque, NM April 10, 2010

Austin, TX April 24, 2010

Minneapolis/St. Paul, MN May 6, 2010

Los Angeles, CA May 22, 2010

Miami, FL June 2, 2010

New York, NY June 19, 2010

San Juan, PR August 11, 2010

Sylvia Orozco

Founder and Executive

Director of the Mexic-Arte

Museum, Austin

“I think it is very important for the 

country to recognize and honor our 

contributions and our traditions 

and culture. I think that a museum 

that studies, portrays, interprets, 

and develops programs around our 

cultural heritage is very important, 

and it elevates and pays tribute to 

the dignity of our culture. I think one 

museum will not be enough to fill 

the need of our country. There are 

already many museums and cultural 

centers around the country, and 

maybe we can take this opportunity 

to create a network of programs 

and institution support. This way all 

the children across the nation and 

the people could benefit from this 

opportunity, in addition to having the 

national museum in Washington.”
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National Museum of the American Latino Commission 

Chapter 9: Public Engagement 

FORUM FEEDBACK 

This section highlights some of the input presented to the commissioners by 

forum attendees. 

CHICAGO

The museum should provide infrastructure to circulate local museum work, 

research, artifacts, share our soul, and use our creative powers. 

The museum should be diverse and have full inclusion — the voices of women, 

children, and Afro-Latinos. 

A virtual museum is important — digitize everything, use technology to 

communicate. 

The museum should be regionalized or have traveling exhibitions. 

Make it a living museum that breathes and educates (dance, poetry, family 

programs, children’s activities, and a center for everyone). 

Think big. The museum will still be around in 100 years. 

Use the museum to change perceptions; tell everyone of our rich history and 

diverse community. We find our power through our identity. 

Let this be the face of our community, a communal symbol of triumph and 

strife. 

Araceli Ruano

Past President of Los Angeles

County Arts Commission

“The museum will show all 

Americans the contributions that 

Latinos have made in this country. 

We want to show how Latinos have 

helped. As a Los Angeles County Art 

Commissioner, I am a big believer in 

the power of arts and education to 

promote academic achievement and 

cultural awareness.”

Forum Format

Local welcoming committees were formed in virtually every city visited by the 

Commission. The committees consisted of prominent individuals from the 

business, arts, civic, and cultural worlds, along with elected officials. Prior to the 

forums, there were separate receptions for the welcoming committee members 

and special guests, where input was gathered directly via video. The local 

committee “hosts” were briefed on the Commission’s mission and mandate. 

At each forum, remarks were given by politicians, when present; a local 

welcoming committee member; and a representative from the Commission. A

three-minute video was then shown that outlined the Commission’s goals and 

mission. The forums were conducted in two parts. 

•	 Part 1 included opening remarks by panelists, followed by a brief 

question-and-answer session from commissioners to the panelists. 

•	 Part 2 consisted of a question-and-answer session between the public and 

the commissioners. 
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 A Report to the President and Congress of the United States

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Don’t let this become a funding fight. It is already difficult to secure a fair share 

of funding. Focus on creating and growing the pie, not fighting over crumbs. 

Use the location of the nation’s capital to nurture natural collaboration. We 

should submit the report with “our” voices. 

ALBUQUERQUE

A dominant theme in New Mexico was how a possible American Latino 

museum would affect the National Hispanic Cultural Center in Albuquerque. 

There is a desire for the National Hispanic Cultural Center to enter into 

collaboration and participate as partners with the American Latino museum. It 

is essential that it is located in the National Mall. 

The story of American Latino veterans should be included in the museum. 

There should be recognition of women’s contributions. 

The role of Catholicism should be treated and explained. 

The museum is an opportunity to strengthen our community around the 

idea of the museum. It should create a renaissance of the Latin culture in our 

communities and should hold many of our artistic and historical treasures.

AUSTIN

The museum should be virtual—a “museum without walls” to educate 

communities, families, and students. 

Create a network of Latino museums and cultural centers that could share 

programs and resources. 

Obtain art that deals with the origins of the Latino culture; purchase and 

collect artifacts that are dated from our ancestors. 

The museum should be a place where we can leave our stories when we visit 

the museum. 

MINNEAPOLIS/ST. PAUL

The museum should reflect the very best in contemporary art created by 

American Latino artists; it is important to not show stereotyped images of 

Latinos in the museum. 

It is important to recognize the contribution of Latino veterans. 

Seek out the large corporations in Minneapolis (such as General Mills and Best 

Buy) as possible sponsors/donors to the museum. 

The 70 people who attended the forum support the proposed museum and 

are interested in starting to raise funds as soon as possible and asked how 

they could help. 

Roberto Carmona

President and CEO of

Crimson Leadership Group

The National Museum of the American 

Latino is a confirmation of some of 

the stories we have heard in terms of 

the contributions of American Latinos 

to this country, in terms of service, 

those responsible for leadership in the 

communities, not only the immigrant 

experience but also those Latinos 

that have been here for generations 

even before the founding of the 

United States. It will be very good 

to tell the story some of us take for 

granted, within our own homes — that 

the mainstream will understand that 

Latinos have been here for many, many 

years and have contributed a lot.

Veronika

Pozmentier

Forum Attendee

“I think this museum is a great idea. I

work with a lot of museums in Miami 

and Miami Beach. When it comes to 

a museum, you gather people, you 

help with education and outreach, 

you make culture and art space. It 

is great for everybody. It is for the 

past, the future, and all the new 

generations.”
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National Museum of the American Latino Commission 

Chapter 9: Public Engagement 

LOS ANGELES

The museum should represent the diversity of Latinos and where they come 

from. 

It should be a living, breathing laboratory where artists can be nurtured. 

A performance space should be built within the museum. 

The museum should have a place for young up-and-coming Latino artists. 

MIAMI

The story of the migrant farm worker should be included in the museum. 

Latino contributions in American sports should be part of the museum. 

The history of Latino businessmen and entrepreneurs should be included in 

the museum. 

Several comments were made about the use of the name Latino versus 

Hispanic; specifically, that the term Latino is not representative of everyone, 

that it is a stereotype created by Hollywood, and that it is a bad name for the 

museum.

Literature should be included in the museum, especially magical realism that 

can even be expressed in the architecture. 

Part of the museum should have a focus on math and science. This can also 

assist with getting funding from pharmaceutical companies that might feel 

compelled to donate. 

NEW YORK

The museum can’t just show paintings, it needs to be a collection of all Latino 

stories. 

Contributions of Afro-Latino ancestry should be reflected in the museum. 

The museum should incorporate technology for content and for content 

distribution. The museum content should also be available for all the devices 

that people currently use to interact. 

The museum should incorporate oral history projects; talk to everyday people 

and ask them their stories. It should go into barrios to engage “real people” in 

the communities like teachers, doctors, and scientists, not the icons of music 

and sports. The museum should consider the area of filmmaking and how our 

images are portrayed on screen. 

The museum should include Latino contributions to arts and architecture. 

Religious practices of the Latino community are interwoven with their culture, 

so they should be represented in this museum. 

Denisse Oller

Journalist and Executive

Director of the Unanue

Latino Institute at Seton Hall

University

“I strongly support the creation of 

this museum. The way I see it, it’s 

about time that we highlight our many 

accomplishments over 500 years in 

this nation. It will be a tangible center 

in Latino pride, so we can celebrate 

our legacy and teach our children 

and our children’s children who we 

are, where we come from, and how 

our history is so tightly woven. How 

we have left our indelible mark with 

our music, our literature, our food, 

and yes our economic contributions, 

which have been many. It will be a 

common destination for all our diverse 

Latin American cultures. We will unite 

to show our culture and our many 

accomplishments and solidarity to the 

United States of America.”

Alan Caves

Piano Professor

“I think the museum is very important 

and a wonderful idea. There are 

so many people around the world 

who really don’t know all the details 

and the background of our Latino 

heritage. It is important for them to 

know the backgrounds for all the 

different cultures that exist with the 

Hispanic community.”
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 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

PUERTO RICO

Puerto Rico’s military contributions to American history, such as the impact 

of the 65th infantry in World War I, World War II, and the Korean War, are 

important to recognize. 

Puerto Rican poets, artists, and musicians are great contributors to the United 

States. 

The contributions of Puerto Rico’s Afro-Latino population should be 

acknowledged in the museum. 

The museum should be part of the Smithsonian Institution. 

The museum will be important because we teach through museums. The 

museum will be a window to the world. 

Tell the stories of the Puerto Ricans who live on the mainland and those who 

live on the island of Puerto Rico. 

The museum should include oral histories and stories of Latinos. 

Include historical facts about Puerto Rico. 

Acknowledge the influence of Puerto Rican sports figures throughout history.

Public Comment Forms

Public comment forms were developed to capture the thoughts, ideas, and 

concerns of people from across the country. The comments contained myriad 

opinions about an American Latino museum on the National Mall, and most 

were overwhelmingly supportive of the concept. The majority of comments 

consisted of suggestions regarding the configuration and style of the museum 

and describing what kind of content and programming it should house. Here 

are several statements from the public comment forms. 

•	 The museum should include contributions of Latinos in the literary arts.

•	 The museum will make Latinos proud of their heritage.

•	 It will serve as a permanent place for Latinos in U.S. history.

•	 The museum should involve younger generations to help youth understand 

the relevance of Latinos in U.S. history.

The initial public response to the creation of the American Latino museum 

is an encouraging sign of the widespread support for such an institution. 

Organizers will need to capitalize on that support as they implement the 

fundraising plan. The next chapter addresses how the public outreach efforts 

must change to continue building support for the museum.

Magic Juan

Musician

“There are so many different 

contributions that we have given 

throughout the ages. I think there 

should be a centralized place 

where our kids and grandkids can 

go and really feel proud about their 

heritage and be educated. I would 

love to see our musical forefathers 

that came before us and gave birth 

to what we are doing now — from 

Tito Puente and Celia Cruz, all the 

way to the current artists.”

Plan for 

Public Engagement upon 

Passage of Legislation
Bracero hat “Minerva Dress” 

Oscar de La Renta

Tito Puente timbales

Chita Rivera dress Poncho Sanchez congas Celia Cruz dress

Roberto Clemente uniform CÉsar ChÁvez Stamp Selena
95

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Plan for 

Public Engagement upon 

Passage of Legislation

Introduction

This plan describes the public relations strategies that 

will be used to garner support for the capital campaign 

and actual building of the museum upon passage of the 

legislation to establish the American Latino museum. 

After passage of the legislation, the focus of the public 

relations campaign will shift from generating general 

awareness of the museum to active engagement and 

fundraising support.

The strategy involved in this round of public outreach 

entails identifying stakeholders, at both the grassroots 

and grasstops levels, and delivering a compelling message 

about the museum that will inspire citizens to engage and 

commit to the cause with their time and/or “treasure.”

Implementing The Plan 

Objective

•	 Engage the American Latino community and other 

communities in the development and design of the 

museum and in the development of a capital campaign 

for the museum

Strategies

•	 Implement grassroots and grasstops multimedia 

outreach campaign

•	 Implement traditional “political” style social-media 

campaigns (such as mini donations)

•	 Leverage networks of existing national, regional, and 

local Latino businesses and cultural and issue advocacy 

organizations (such as the National Council of La Raza 

and League of United Latin American Citizens)

•	 Launch traditional promotional campaign 

•	 Launch traditional earned-media campaign

•	 Set up alliances with national Spanish-language 

networks (Telemundo, Univision, and V-Me)

•	 Leverage American Latino star power 

Tactics

•	 Conduct audience research to determine correct 

messaging and audience for the campaign

•	 Distribute press releases announcing the passage of 

legislation and start of a capital campaign

•	 Launch an earned-media campaign with press 

releases, commissioner interviews, and other means at 

a national and local level

•	 Initiate a radio public service announcement campaign

•	 Initiate a word-of-mouth campaign, leveraging 

community leaders and relevant members of local 

organizations to drive knowledge of Commission 

efforts nationally 

•	 Leverage the networks of Catholic and evangelical 

American Latino national organizations

•	 Begin a social-media outreach campaign to inform 

the public, build a community (build on existing 

community), capture data, and drive donations
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National Museum of the American Latino Commission 

Chapter 10: Plan for Public Engagement upon Passage of Legislation

•	 Have community leaders send emails/letters to their networks 

•	 Create a sense of ownership (this is about all Americans) 

•	 Have donor/support parties, both virtual and offline, featuring live 

appearances (or via conference call) of nationally recognized leaders, 

celebrities, and sports figures.

•	 Create an ad campaign in conjunction with Fortune 500 companies that 

advertise on Spanish-language TV and other Spanish-language media outlets. 

The plan presented here provides an overview of the continued outreach 

necessary to implement a successful fundraising campaign. Each element will 

require a complete commitment to the cause and an understanding that the 

ultimate result will be the illumination of the American story for the benefit 

of all.

Nancy Andrade

President and General 

Counsel of Mexifeast Foods

“I would like to see incorporated in 

this museum a lot of the backbone of 

our country’s economic system — the 

small business owners; everything 

from the paletero (ice cream vender) 

to the tamalero (tamale vender) 

who sells on the corner, to the 

high-powered executive. We need 

to focus and showcase Latinos from 

all levels and all walks of life and the 

great contributions we have made to 

our economic society.”

Helen Ferré 

Aguirre 

OP-ED Editor at 

Diario Las Américas

“Culture matters, it is so important. 

It is what builds bridges. If we don’t 

know and understand the past, we 

will never understand the present and 

reach our best potential in the future. 

It is the perfect time to do this.”
Special Thanks
Cuatro Escaramuza outfit, skirt Paquito d’Rivera clarinet

Escaramuza outfit, boots Bongos Escramuza outfit, hat

Bordonua Escaramuza outfit, blouse Mongo Santamaria conga drum
99

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Special Thanks

The Commission extends a special thank you to the following individuals

for their Support in preparing this Final Report to Congress.

The Honorable Kenneth Salazar

The Honorable Hilda Solís

The Honorable Harry Reid

The Honorable Charles E. Schumer

The Honorable Robert Menéndez

The Honorable Nancy Pelosi

The Honorable Xavier Becerra

The Honorable Nydia Velásquez

The Honorable Ileana Ros-Lehtinen

The Honorable Lincoln Díaz-Balart

The Honorable Mario Díaz-Balart

The Honorable Martin Heinrich

The Honorable Ben Ray Luján

The Honorable Lloyd Doggett

The Honorable John Carter

The Honorable Pedro Pierluisi 

The Honorable Bill Richardson

The Honorable Lucille Roybal-Allard

The Honorable Luis Fortuño 

The Honorable Esperanza “Hope” Andrade

The Honorable Antonio R. Villaraigosa

The Honorable Tomás P. Regalado

The Honorable Matti Herrera Bower

The Honorable Carlos Álvarez

The Honorable Mel Martínez

The Honorable Kenneth McClintock

The Honorable Norma Burgos

The Honorable Lucy Arce
100

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

Bill Aguado

Richard Aguilar

Mark Aguilera

Helen Ferré Aguirre

Vanessa Alarid

James Aldrete

Anne Alonzo

Rosa Alonzo

Michael Álvarez

Yetzenia Álvarez

Fabio Andrade

George Andrews

Ramón Aníbal

Clara Apodaca

Mari Carmen Aponte

Angela Arboleda

Ralph Arellanes

Liz Arreaga

Agustín Arteaga

Leslie Arvelo

Stuart Ashman

Myrna Báez

Mario Baeza 

Patricia Bartlett

Tony Bechara

Rudy Beserra

Sara J. Bloomfield

Grace Brady

Matt Bregman

Claudine Brown

Emily Bueche

Dr. Lonnie Bunch

George Burcinga

Tonio Burgos

Julio Cabral Jr.

Karina Cabrera

Dr. Olivia Cadaval

Louis Caldera

Andy Camacho

Doreen Colón 

Camacho 

Diana Campoamor

Theresa Cárdenas

Roberto Carmona

Lenny Caro

Francisco Carrillo

Alberto M. Carvalho

Gilbert Casellas

Myriam Castillo

Angie Castro

Tom Castro

Ambassador Paul 

Cejas

Walter Chávez

Robert Chisholm 

Henry G. Cisneros

Dana Ste. Claire

Virginia Clark

Dr. Wayne G. Clough

Thom Collins 

Dr. Nora Comstock

Vanessa Conde

Maria ContrerasSweet

David Correa

Sharon Cott

Lucía Cottone

Norberto Curitomai

Dr. Francisco Dallmeier

Marta Dansie

Bruce Dauer

Janet DeArmas

Pedro DeJesús

Frank Del Río

Glenn DeMarr

Benny Díaz

Eduardo Díaz

Guarioné Díaz 

Jennifer Díaz

Dorene Domínguez

Zully Dorr

Luly Duke 

Omar Duque

Carmen Durán

Raquel “Rocky” 

Eguisquiza

Daisy Exposito

Jorge R. Exposito

Chick Fagan

Angelo Falcón

Alfonso “Alfie” 

Fanjul Jr.

Mickey Fearn

Dr. Lawrence S. 

Feldman

Michael Fenton

Michael Fernández

Miguel Ferro

Emilio Figueroa

Margarita Flores

Steve Fortunato

Rt. Rev. Leo Frade

Roberto C. Frugone

Elvis Fuentas

Daniel Gallan

Olga Garay

Camelia Garrido

María Garza

Jim Gasser

Father Luis Ricardo 

“Ricky” Gerena

Garry Gibbs

Dr. Brent Glass

Alfaro Gonzales

Melody Gonzales 

Patty Gonzales
101

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Emilio González

Kevin Gover 

Eric Griego 

Kate Gueorguieva

Luis Guerrero

Cynthia Gutiérrez

Jeff Hahn

Denisse Hau

Phillip Henderson

Adolfo Henriques 

Edward P. Henry

Carlos Hernández

Yaz Hernández

George Herrera

Kim Hintz

Virginia Hough

Dolores Huerta

Alberto Ibarguen

Antonio Ibarria

George Irish

Isaac Jacobson

Carol Jacques

Warren James

Chris Kircher

Vincent E. Kitch

Aleta Knight

Sheryl Kolasinski

Dr. Richard Kurin

Bob Lander

John Lapiana

Adrianne F. Leal 

Ray Llanos

Melinda Loftin

Eric López 

Felix López

Wiliam López

Philip LoPiccolo

Steve Lorenzetti

Carmen Guzmán 

Lowrey

Maria Luisa 

Ed Luján

Gregorio Luke

Melinda Machado

María Gabriela 

Madrid-Parra

Alberto Magnan 

Alicia Maldonado

Gerri Mannion

Pilar Marrero

Andy Martínez

Matt Martínez

Mike Martínez

Robert “Bob” Martínez

Román Martínez

Peter May

Edwin Meléndez

Dr. Sal Melgen

Dr. Martha Menchaca

Zenaida Méndez

Father José 

Luis Menéndez

Sara Zapata de Mijares

Rafael Miyar 

Gloria Molina

Roberto Mondragón

María Montalvo

Michael Montelongo

Yvonne Montoya

David Morales

Natalie Morales

Elsa Mosquera

Dennis C. Moss

Rafael “Rafo” Muñiz

Janet Murguia

Gary Nader

Robert Hicks Navarro

Max Navarro

Andres Nevares

Georgina Nichols

Al Nodal

Luis Nogales

Xavier Nogueras

Billy Ocasio

Denisse Oller

Sylvia Orozco

Werner Oyanadel

Lauren Pacheco 

Ron Parker

Jimmie (Ms.) Walton 

Paschall

Luis Patiño

Nell Payne

Donna Pedace

Abelardo de la Peña Jr.

Celinda Peña

Federico Peña

George Pérez 

Jorge Pérez

Marvette Pérez

Myrna Pérez 

Ricardo Pérez

Tony Pérez

Cary Pierluisi

John Piltzecker

Alfred Placeres

Tony Plana

Earl A. Powell III

Ana María Pozo

Mayda Prego

Marilú Purcell

Tony Quiñones

Ernie Quintana

Lisa Quiroz

Dr. Estevan RaelGálvez
102

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

Leo A. Ramírez Jr. 

Angela Ramos 

Dr. Lourdes Ramos

Ferré Rangel 

Dr. Pedro Reina

Shirley Rodríguez 

Remeneski

Aileen Reyes

Alfredo Richard

Ned Rifkin

Sharon Ritchie

Nelson Robles

Estuardo Rodríguez 

Gloria Rodríguez 

Julie Chávez Rodríguez

Laura Rodríguez

Raúl Rodríguez 

Rudi R. Rodríguez

Sylvia Rodríguez

Israel Romero

Sandra Romero

Terecita Romo 

Arabel Alva Rosales

John E. Rose

Becky Rowan

Araceli Ruano

Gina Rudán

Art Ruiz

Bennett Ruiz

Jesse Ruiz

Thomas A. Sáenz

Solimar Salas

Julio Salcedo

Juan Salgado

Dr. Cristian Samper

Emilio Sánchez 

Dr. Joseph Sánchez

Pilar Sánchez

Manuel “Manny” 

Sánchez

Nora Sandigo

Laura Sanford

Roger W. Sant

Dr. Francisco Scarano 

Katie Schlofeldt

Dennis Scholl 

César F. Sedano

Lewis Segal

Brenda Sendejo

Sonia Siesholtz

Dalila T. Sotelo

Michael Spring

Emma Steuer

Ann Stock

Patricia Q. Stonesifer

Roberto Tejada

Carol Thompson

Bill Tompkins

Carlos Tortolero

Richard Townsend

Virginia Trinkle

Robert Unanue

Luis Urbina

Dr. Fred Valdez Jr.

Jeff Valdez

Stephanie Valencia

José Luis Valenzuela

Arturo Vargas

Pepe Vargas

Armando 

Vásquez-Ramos

Teresa Vázquez

Lucé Vela 

Gus Viano

Frederico Vigil

Daniel Villanueva

Antonio R. Villaraigosa

Peter Villegas

Olga Viso

Jaime Viteri

Rosemarie Vizcarrondo

Joan Wages

Bianca Ortiz Wertheim

Iris West

Brent Wilkes

Robert Wilkins

Bernie Williams 

Randall Willis

Pedro Windsor

Yasmin Yaver

Jonathan Yorba

Raul Yzaguirre

Steve Zack

Paula Zagrecki

Dr. Emilio Zamora

Miguel Zenón 

Julian Zugazagoitia

Amaury Zuriarraín
103

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Agencies and 

Organizations

American Association 

of Museums

American GI Forum

Archives of American Art

Art Museum 

of the Américas

ArtesMiami 

Association of Hispanic 

Advertising Agencies 

Bass Museum of Art

Blanton Museum of Art

Bob Bullock Texas State 

History Museum

Chicago History Museum

Center for Puerto Rican 

Studies, Hunter College

Center for Folklife and 

Cultural Heritage

Cisneros Fontanals Art 

Museum Foundation 

Cuban American Council 

Cuban Museum of Arts & 

Culture

Department of Energy

de Young Museum 

El Museo del Barrio

España-Florida 

Foundation 

Federal Bureau 

of Investigation

Frost Art Museum

Greater Austin Hispanic 

Chamber of Commerce

Hispanics in Philanthropy

Latino Museum of 

History, Art & Culture

Instituto de Cultura 

Puertorriqueña

League of United Latin 

American Citizens

Library of Congress

Los Angeles Theatre 

Center Mexic-Arte 

Museum 

Miami Art Museum 

Miami Dade College

Museo de Arte 

Contemporáneo 

Museo de Arte de Puerto 

Rico 

Museo de Arte de Ponce

Museo de las Americas

Museo y Centro de 

Estudios Humanísticos, 

Universidad de Turabo

Museum of Latin 

American Art

National Association of 

Hispanic Journalists 

National Association of 

Latino Arts and Culture 

National Association of 

Latino Elected Officials

National Capital Planning 

Commission

National Council 

of La Raza
104

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

Color Guards 

at Public Forums 

Albuquerque, NM

Austin, TX

Los Angeles, CA

Miami, FL

New York City, NY

National Hispanic 

Cultural Center

National Museum 

of African American 

History and Culture 

National Museum 

of American History 

National Museum 

of Mexican Art

National Museum of 

Natural History

National Museum of the 

American Indian

National Portrait Gallery

San Francisco Museum 

of Modern Art 

San Juan National 

Historic Site 

Smithsonian American 

Art Museum

Smithsonian CooperHewitt, National Design 

Museum 

Smithsonian Institution 

Latino Center

Smithsonian Institution

The Bronx Museum

The Getty Villa

The Museum of Spanish 

Colonial Art

The Presidio Trust

U.S. Department 

of Agriculture

United States 

Commission of Fine Arts

Yerba Buena Center for 

the Arts
105

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Acknowledgements

U.S. Department of the Interior

The Honorable Kenneth L. Salazar, Secretary of the Interior

Ray Rivera, Director for External and Intergovernmental Affairs 

Jonathan Jourdane, Special Assistant

National Park Service, 

Washington DC Office

Dennis A. Vásquez, Program Manager

Alex Romero, Superintendent / Assistant Program Manager

Margaret Garvin, Administrative Officer

María Forte, Administrative Officer

Roegener Kirk, Program Assistant

Michael Díaz, Program Assistant

Omar Eaton-Martínez, Program Assistant

Rui Fernandez, Program Assistant

Tania Mendes, Program Assistant

National Park Service, Denver 

Service Center Project Management

and Contracting Services

Sam Whittington, Denver Service Center Director

Ray Todd, Denver Service Center Deputy Director

BJ Johnson, Denver Service Center Planning Division Manager

David Kreger, Planning Division Supervisor

Cynthia Romero-Nelson, Project Manager

Susan Spain, National Mall Planning Executive

Abel Ramón, Project Specialist

Jazmín Chávez, Project Specialist

Armando Somoza, Graphics Specialist

Glenda Heronema, Lead Visual Information Specialist

Lori Yokomizo, Website Support

Dolly Fernández, Chief, Contracting Services Division

Brenda Karl, Branch Chief, Contracting Services Division

Rebecca Bizier, Contracting Officer

Carol Watkins, Contracting Officer

La Donna Collins, Contract Specialist

RED, Inc. Communications, Publications Consultants

Preparers and Consultants

Site Assessment Consultant

Wallace, Roberts & Todd, LLC

Antonio Fiol-Silva

Ignacio Bunster 

Modesto Bigas-Valedón

Mission, Vision, and Programs Consultant

Lord Cultural Resources, Inc.

Amy Kaufman

Dr. Maribel Álvarez

Marcella Guerrero

Nikki De Jesús

Fundraising Plan and Strategy Consultants

Argus International, Inc. 

Elaine Coronado

Mimi Quintanilla

Benz, Whaley, and Flessner

Janet Hedrick

Judith Jobbitt

Public Communications Consultants

Balsera Communications Group

Freddy Balsera

David Duckenfield

Cassandra Andrade

República, LLC

TMP, LLC

Social Media Consultant

Plus Three 

Juan M. Proaño

Governance Strategy Consultant

Landair Project Resources, Inc.

Leith ter Meulen

Beth Henriques

Theresa Collins

Warren James

Cultural and Organizational Consultants

Dr. Tomás Ybarra-Frausto

John Huerta

Joanne Flores, Smithsonian Institution
106

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

Henry R. Muñoz III, Chairman

Susan Gonzales, Vice Chair

Emilio Estefan Jr., Vice Chair

Nelson Albareda

Luis R. Cancel

Dr. Gilberto Cárdenas

Sandy Colón-Peltyn

Rosa J. Correa

Carlos J. Ezeta

Dr. José B. Fernández

Moctesuma Esparza

Lorraine García-Nakata

Dr. Aida T. Levitan

Commissioners
107

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Andrés W. López

Ellie López-Bowlan

Dr. Eduardo J. Padrón

Eva Longoria

Cindy Peña

Abigail M. Pollak

Sean D. Reyes

Dr. Emma Sepúlveda

Raul Danny Vargas

Cid Wilson

Commissioners

John Huerta, 

Advisor to Commission 

Dr. Tomás Ybarra-Frausto, 

Advisor to Commission

Dennis A. Vásquez, 

NPS, Program Manager
108

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

Image Credits

Page 2 - History

1. Three women, Teodoro Vidal Collection, Archives Center, National Museum of American History

2. Arturo Alfonso Schomburg, New York Public Library

3. Jose Martí, LC-USz62-113376, Library of Congress

4. Bracero, Leonard Nadel Collection, Division of Work and Industry, 

National Museum of American History

5. Rita Hayworth, LC-USZ62-117431, Library of Congress

6. María Amparo Ruiz de Burton, Arte Público Press, University of Houston, Texas

7. Our Lady of Guadalupe Church, Zuni Pubelo, National Anthropological Archives, 

National Museum of Natural History

8. Prudencio and Carolina Unanue, Goya Foods Collection, Archives Center, 

National Museum of American History

9. Romualdo Pacheco, LC-USZ62-95030, Library of Congress

Page 6 - Infuential Latino Leaders

1. Ellen Ochoa, 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

2. Chita Rivera, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

3. Tanya León, 2003, photograph, Luis Mallo, Smithsonian Latino Center

4. Luis Valdez, 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

5. Joseph Unanue, 2003, photograph, Luis Mallo, Smithsonian Latino Center

6. Cristina García, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

7. Hugo Morales, photograph, made possible by Hugo Morales

8. Linda Alvarado, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

9. Julia Alvarez, 2002, photograph, David Hathcox

page 10 - Infuential Latino Leaders

1. Ricardo E. Alegría, 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

2. Antonia C. Novello, 2003, photograph, Luis Mallo, Smithsonian Latino Center

3. Juan Romagoza , 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

4. Judy Baca, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

5. Dolores Huerta, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

6. Pepón Osorio, 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

7. Teodoro Vidal, 2003, photograph, Héctor Méndez-Caratini, Smithsonian Latino Center

8. Junot Díaz, photograph, made possible by commissioner Cid Wilson

9. Victor Villaseñor, 2003, photograph, Celia Alvarez Muñoz, Smithsonian Latino Center

1. 2. 3.

4. 5. 6.

7. 8. 9.

1. 2. 3.

4. 5. 6.

7. 8. 9.

1. 2. 3.

4. 5. 6.

7. 8. 9.
109

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Image Credits

Joseph H. De Castro, Army, Corporal • David

B. Barkley, Army, Private • Lucien Adams, Army, 

Staff Sergeant • Rudolph B. Davila, Army, First 

Lieutenant • Marcario Garcia, Army, Staff 

SergeanT • David Gonzalez , Army, Private First 

Class • Silvestre Herrera Army, Private 

First Class • Jose M. Lopez, Army, Sergeant • Joe 

P. Martinez, Army, Private • Manuel Perez Jr., 

Army, Private First Class • Cleto L. Rodriguez, 

Army, Private • Alejandro R. Ruiz, Army, Private 

First Class • Jose F. Valdez, Army, Private First 

Class • Ysmael R. Villegas, Army, Staff Sergeant 

• Rodolfo P. Hernandez, Army, Corporal • 

Martinez Benito, Army, Corporal • Joseph C. 

Rodriguez, Army, Sergeant • John P. Baca, Army, 

Specialist Fourth CLASS • Roy P. Benavidez, Army, 

Master Sergeant • Daniel Fernandez, Army, 

Private First Cl • Carlos Lozada, Army, Private 

First Cl • Alfred V. Rascon, Army, Specialist 

Fourth Class • Louis R. Rocco, Army, Warrant 

Officer • Euripides Rubio, Army, Captain • 

Hector Santiago-Colon, Army, Specialist 

Fourth Cl • Elmelindo Rodrigues-Smith, 

Army, Sergeant First Class • Humber Roque 

Versace, Army, Captain • Maximo Yabes, 

Army, First Sergeant • Phillip Bazaar, Navy, 

Ordinary Seaman • John Ortega, Navy 

Seaman • France Silva, Marine corps, Private • 

Harold Gonsalvez, Marine corps, Private First 

Class • Fernando Luis Garcia, Marine corps, 

Private First Class • Edward Gomez, Marine 

corps, Private First Class • Ambrosio Guillen, 

Marine corps, Staff Sergeant • Baldomero 

Lopez, Marine corps, First Lieutenant • Eugene 

Arnold Obregon, Marine corps, Private First 

Class • Emilio A. De La Garza, Marine corps, 

Lance Corporal • Ralph E. Dias, Marine corps, 

Private First Class • Alfredo Cantu Gonzalez, 

Marine corps, Sergeant • Jose Francisco

Page 16 - latino medal 

of honor recipients

Image of Medal of Honor 

made possible by the 

Congressional Medal of 

Honor Society. Roster of 

names made possbile by 

C. Douglas Sterner at: 

www.homeofheroes.com

page 32 - José Campeche

José Campeche 

San Juan Nepomuceno (Saint 

John Nepomuk)

about 1798, oil

106.1x74.9 cm

Smithsonian American Art 

Museum

Teodoro Vidal Collection

Page 58 - Carlos Alfonzo

Carlos Alfonzo 

Where Tears Can’t Stop

1986, acrylic

243.2 x 325.8 cm

Smithsonian American Art Museum purchase made possible by the 

American Art Forum

page 42 - Tapestry Weave Rag Jerga

Agueda Martínez 

Tapestry Weave Rag Jerga

1994

woven cotton cloth on cotton yarn warp

86 1/2 x 52 1/2 in. (219.7 x 133.4 centimeters)

Smithsonian American Art Museum

Museum purchase through the Smithsonian Latino Initiatives Pool and the Smithsonian Institution 

Collections Acquisition Program
110

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

image Credits

page 94 - Compilation of Influential Latino icons and objects 

1. Roberto Clemente uniform, Division of Culture and the Arts, 

National Museum of American History

2. César Chávez stamp, 2003, © United States Postal Service. All rights reserved 

3. Selena, Kell Muñoz Architects, Inc. © United States Postal Service. All rights reserved

4. Bracero hat, Gift of the Ramirez Zavala Family, Division of Home and Community Life, 

National Museum of American History

5. Oscar de La Renta, “Minerva Dress,” Gift of Oscar de la Renta, 

National Museum of American History

6. Tito Puente timbales, Division of Culture and the Arts, National Museum of American History

7. Chita Rivera dress, Gift of Chita Rivera, Division of Culture and the Arts, 

National Museum of American History 

8. Poncho Sanchez congas, Gift of Nancy Santamaria, Division of Culture and the Arts, 

National Museum of American History

9. This Cuban flag bata cubana belonged to Celia Cruz and was on view in the exhibition Azúcar: 

The Life and Music of Celia Cruz

page 72 - Caban Group

Caban Group

Los Reyes Magos (The Three Magi)

about 1875-1900

painted wood with metal and string

20.7 x30.3x15.3 cm

Smithsonian American Art Museum

Teodoro Vidal Collection

1. 2. 3.

4. 5. 6.

7. 8. 9.

page 84- luis jiménez

Luis Jiménez  

Vaquero

modeled 1980/cast 1990

acrylic urethane, fiberglass, steel armature

199 x 114 x 67 in. (505.5 x 289.6 x 170.2 centimeters)

Smithsonian American Art Museum

Gift of Judith and Wilbur L. Ross Jr., Anne and Ronald Abramson, Thelma and Melvin Lenkin
111

 A Report to the President and Congress of the United States

To Illuminate the American Story for All 

image Credits

page 98 - Compilation of traditional instruments and clothing

1. Bordonua, Division of Culture and the Arts, National Museum of American History 

2. Escaramuza outfit, blouse, Gift of Veronica Lininger, Division of Home and Community Life, 

National Museum of American History

3. Mongo Santamaria conga drum, Division of Culture and the Arts, 

National Museum of American History

4. Escaramuza outfit, boots, Gift of Veronica Lininger, Division of Home and Community Life, 

National Museum of American History

5. Bongos, Division of Culture and the Arts, National Museum of American History

6. Escramuza outfit, hat, Gift of Veronica Lininger, Division of Home and Community Life, 

National Museum of American History

7. Cuatro, Puerto Rico, 1899, Division of Culture and the Arts, 

National Museum of American History

8. Escaramuza outfit, skirt, Gift of Veronica Lininger, Division of Home and Community Life, 

National Museum of American History

9. Paquito d’Rivera clarinet, Division of Culture and the Arts, 

National Museum of American History

Page 114 - Compilation of art

1. Doll, Krikati Village of Sao Jose, Brazil, Department of Anthropology, 

National Museum of Natural History 

2. Blanket, Quechua, Peru,  Department of Anthropology, National Museum of Natural History

3. Sampler, Puerto Rico, 1935, Teodoro Vidal Collection, Division of Home and Community Life, 

National Museum of American History

4. Saint Anthony of Padua, New Mexico, 1785-1831. Gift of Mrs. William C.F. Robards, 

Division of Home and Community Life, National Museum of American History

5. Finial, Our Lady of Guadalupe Church, Zuni Pueblo, 1779-1799, 

Division of Home and Community Life, National Museum of American History

6. Careta/Carnival Mask, Miguel Caraballo, Teodoro Vidal Collection, 

Division of Home and Community Life, National Museum of American History

7. Coconut cup, Puerto Rico, Teodoro Vidal Collection, Division of Home and Community Life, 

National Museum of American History

8. Poster, Puerto Rico Division of Education (DIVEDCO), Archive Center, 

National Museum of American History

9. Paño/ handkerchief - “La Tierra Nueva en Aztlán,” Gift of Rudy Padilla, 

Division of Home and Community Life, National Museum of American History

1. 2. 3.

4. 5. 6.

7. 8. 9.

1. 2. 3.

4. 5. 6.

7. 8. 9.
112

National Museum of the American Latino Commission 

Chapter 11: Special Thanks

The artwork, design and layout of the Commission’s report were 

directed by Henry R. Muñoz III. The design team included Armando 

B. Somoza, MFA of the National Park Service, Christopher 

Gutierrez, Director of Visual Communications for Kell Muñoz 

Architects, and the graphic design team of República, LLC.

the design
Appendix A
Poster, 

Puerto Rico Division of Education (DIVEDCO)

Doll

Krikati village of Sao Jose, Brazil

Sampler, 

Puerto Rico, 1935

Coconut cup, 

Puerto Rico, Teodoro Vidal Collection

Blanket 

Quechua, Peru

“La Tierra Nueva en Aztlán” 

Paño/handkerchief, Gift of Rudy Padilla

Saint Anthony of Padua, 

New Mexico, 1785-1831

Finial, 

Our Lady of Guadalupe Church, 1779-1799

Careta/Carnival Mask,

Miguel Caraballo 
115

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Appendix A

Public Law 110-229, 122 

STAt 754 (may8, 2008) U.S. 

House of Representatives

cosponsors

COSPONSORS(108)

Rep Ackerman, Gary L. [NY-5] - 2/5/2007

Rep Baca, Joe [CA-43] - 1/17/2007

Rep Berkley, Shelley [NV-1] - 2/5/2007

Rep Berman, Howard L. [CA-28] - 1/17/2007

Rep Bishop, Sanford D., Jr. [GA-2] - 2/5/2007

Rep Bordallo, Madeleine Z. [GU] - 2/6/2007

Rep Brown, Corrine [FL-3] - 1/31/2007

Rep Capps, Lois [CA-23] - 1/17/2007

Rep Cardoza, Dennis A. [CA-18] - 1/17/2007

Rep Carson, Julia [IN-7] - 2/5/2007

Rep Castor, Kathy [FL-11] - 2/5/2007

Rep Christensen, Donna M. [VI] - 1/31/2007

Rep Clay, Wm. Lacy [MO-1] - 1/17/2007

Rep Cleaver, Emanuel [MO-5] - 1/31/2007

Rep Clyburn, James E. [SC-6] - 1/17/2007

Rep Cohen, Steve [TN-9] - 2/5/2007

Rep Conyers, John, Jr. [MI-14] - 2/5/2007

Title: To establish the Commission to Study the Potential 

Creation of the National Museum of the American Latino 

to develop a plan of action for the establishment and 

maintenance of a National Museum of the American 

Latino in Washington DC and for other purposes. 

Sponsor of H.R. 512: Rep Becerra, Xavier [CA-31] 

(introduced 1/17/2007) Cosponsors (108) 

Rep Costa, Jim [CA-20] - 1/17/2007

Rep Crowley, Joseph [NY-7] - 1/17/2007

Rep Cuellar, Henry [TX-28] - 1/17/2007

Rep Davis, Susan A. [CA-53] - 2/6/2007

Rep DeLauro, Rosa L. [CT-3] - 1/31/2007

Rep Diaz-Balart, Lincoln [FL-21] - 1/17/2007

Rep Diaz-Balart, Mario [FL-25] - 1/17/2007

Rep Emanuel, Rahm [IL-5] - 2/5/2007

Rep Engel, Eliot L. [NY-17] - 1/17/2007

Rep English, Phil [PA-3] - 2/6/2007

Rep Fattah, Chaka [PA-2] - 2/5/2007

Rep Filner, Bob [CA-51] - 1/17/2007

Rep Fortuño, Luis G. [PR] - 1/17/2007

Rep González, Charles A. [TX-20] - 2/6/2007

Rep Green, Al [TX-9] - 1/17/2007

Rep Green, Gene [TX-29] - 1/17/2007

Rep Grijalva, Raul M. [AZ-7] - 1/17/2007
116

National Museum of the American Latino Commission 

Appendix A

Rep Gutierrez, Luis V. [IL-4] - 1/17/2007

Rep Hare, Phil [IL-17] - 2/5/2007

Rep Harman, Jane [CA-36] - 2/5/2007

Rep Herseth, Stephanie [SD] - 2/5/2007

Rep Hinojosa, Ruben [TX-15] - 1/17/2007

Rep Honda, Michael M. [CA-15] - 1/17/2007

Rep Jackson-Lee, Sheila [TX-18] - 1/17/2007

Rep Jefferson, William J. [LA-2] - 2/6/2007

Rep Johnson, Henry C. “Hank,” Jr. [GA-4] - 1/17/2007

Rep Jones, Stephanie Tubbs [OH-11] - 2/5/2007

Rep Kildee, Dale E. [MI-5] - 2/5/2007

Rep Kilpatrick, Carolyn C. [MI-13] - 1/31/2007

Rep Kucinich, Dennis J. [OH-10] - 1/31/2007

Rep Kuhl, John R. “Randy”, Jr. [NY-29] - 1/31/2007

Rep LaHood, Ray [IL-18] - 1/17/2007

Rep Lantos, Tom [CA-12] - 2/5/2007

Rep Larson, John B. [CT-1] - 1/17/2007

Rep Lee, Barbara [CA-9] - 1/31/2007

Rep Lewis, John [GA-5] - 2/5/2007

Rep Lofgren, Zoe [CA-16] - 1/17/2007

Rep Lynch, Stephen F. [MA-9] - 1/17/2007

Rep Maloney, Carolyn B. [NY-14] - 2/5/2007

Rep Markey, Edward J. [MA-7] - 1/31/2007

Rep Matsui, Doris O. [CA-5] - 1/31/2007

Rep McCotter, Thaddeus G. [MI-11] - 1/17/2007

Rep McDermott, Jim [WA-7] - 2/5/2007

Rep McKeon, Howard P. “Buck” [CA-25] - 2/5/2007

Rep Meehan, Martin T. [MA-5] - 2/5/2007

Rep Meek, Kendrick B. [FL-17] - 2/5/2007

Rep Meeks, Gregory W. [NY-6] - 2/5/2007

Rep Miller, George [CA-7] - 2/5/2007

Rep Moore, Dennis [KS-3] - 1/17/2007

Rep Moore, Gwen [WI-4] - 1/31/2007

Rep Moran, James P. [VA-8] - 1/31/2007

Rep Nadler, Jerrold [NY-8] - 1/31/2007

Rep Napolitano, Grace F. [CA-38] - 1/17/2007

Rep Norton, Eleanor Holmes [DC] - 2/5/2007

Rep Ortiz, Solomon P. [TX-27] - 1/17/2007

Rep Pallone, Frank, Jr. [NJ-6] - 2/5/2007

Rep Pastor, Ed [AZ-4] - 1/17/2007

Rep Payne, Donald M. [NJ-10] - 1/17/2007

Rep Pearce, Stevan [NM-2] - 2/5/2007

Rep Rangel, Charles B. [NY-15] - 2/5/2007

Rep Renzi, Rick [AZ-1] - 1/17/2007

Rep Reyes, Silvestre [TX-16] - 1/17/2007

Rep Rodríguez, Ciro D. [TX-23] - 1/17/2007

Rep Ros-Lehtinen, Ileana [FL-18] - 1/17/2007

Rep Rothman, Steven R. [NJ-9] - 1/17/2007

Rep Roybal-Allard, Lucille [CA-34] - 1/17/2007

Rep Salazar, John T. [CO-3] - 1/17/2007

Rep Sánchez, Linda T. [CA-39] - 1/17/2007

Rep Sánchez, Loretta [CA-47] - 1/17/2007

Rep Schakowsky, Janice D. [IL-9] - 2/5/2007

Rep Schiff, Adam B. [CA-29] - 1/17/2007

Rep Serrano, Jose E. [NY-16] - 1/17/2007

Rep Shays, Christopher [CT-4] - 2/5/2007
117

A Report to the President and Congress of the United States

To Illuminate the American Story for All 

Rep Sherman, Brad [CA-27] - 1/31/2007

Rep Shimkus, John [IL-19] - 1/31/2007

Rep Sires, Albio [NJ-13] - 1/17/2007

Rep Slaughter, Louise McIntosh [NY-28] - 2/6/2007

Rep Solis, Hilda L. [CA-32] - 1/17/2007

Rep Stark, Fortney Pete [CA-13] - 2/5/2007

Rep Sutton, Betty [OH-13] - 1/31/2007

Rep Thompson, Bennie G. [MS-2] - 2/5/2007

Rep Towns, Edolphus [NY-10] - 1/17/2007

Rep Udall, Tom [NM-3] - 1/17/2007

Rep Van Hollen, Chris [MD-8] - 1/17/2007

Rep Velázquez, Nydia M. [NY-12] - 1/31/2007

Rep Walsh, James T. [NY-25] - 2/6/2007

Rep Wasserman Schultz, Debbie [FL-20] - 2/5/2007

Rep Watson, Diane E. [CA-33] - 2/6/2007

Rep Weiner, Anthony D. [NY-9] - 2/5/2007

Rep Weller, Jerry [IL-11] - 1/17/2007

Rep Woolsey, Lynn C. [CA-6] - 1/17/2007 
118

National Museum of the American Latino Commission 

Appendix A

Public Law 110-229, 122 STAt

754 (may8, 2008) 

U.S. Senate cosponsors 

COSPONSORS(24)

Sen Bayh, Evan [IN] - 2/6/2007

Sen Biden, Joseph R., Jr. [DE] - 2/6/2007

Sen Bingaman, Jeff [NM] - 2/6/2007

Sen Boxer, Barbara [CA] - 2/6/2007

Sen Brown, Sherrod [OH] - 2/6/2007

Sen Clinton, Hillary Rodham [NY] - 2/6/2007

Sen Domenici, Pete V. [NM] - 2/6/2007

Sen Durbin, Richard [IL] - 2/6/2007

Sen Feingold, Russell D. [WI] - 2/6/2007

Sen Feinstein, Dianne [CA] - 2/6/2007

Sen Hutchison, Kay Bailey [TX] - 2/6/2007

Sen Kennedy, Edward M. [MA] - 2/6/2007

Title: A bill to establish the Commission to Study the 

Potential Creation of the National Museum of the American 

Latino to develop a plan of action for the establishment and 

maintenance of a National Museum of the American Latino 

in Washington DC and for other purposes. 

Sponsor of S. 500: Sen Salazar, Ken [CO] 

(introduced 2/6/2007) Cosponsors (24) 

Sen Kerry, John F. [MA] - 2/6/2007

Sen Landrieu, Mary L. [LA] - 3/14/2007

Sen Lautenberg, Frank R. [NJ] - 2/6/2007

Sen Lieberman, Joseph I. [CT] - 2/6/2007

Sen Lugar, Richard G. [IN] - 2/6/2007

Sen Martínez, Mel [FL] - 2/6/2007

Sen McCain, John [AZ] - 2/6/2007

Sen Menendez, Robert [NJ] - 2/6/2007

Sen Nelson, Bill [FL] - 2/6/2007

Sen Obama, Barack [IL] - 2/6/2007

Sen Reid, Harry [NV] - 2/6/2007

Sen Schumer, Charles E. [NY] - 2/6/2007