[The Editors' Verdict] Is Free Admission to National and Public Museums and Art Galleries Really a Problem?

In May 2012, during the height of the European debt crisis, I went on a business trip to Europe. I took some time to visit famous art museums that I had only heard of by name. I visited the Prado Museum in Madrid, Spain, where Francisco Goya’s (1746?1828) paintings “The Clothed Maja” and “The Nude Maja” can be seen, late in the day as the sun was setting. The Prado Museum did not charge an admission fee during the last hour of the day.

At an art industry roundtable on the 21st of last month, free admission to national and public museums and art galleries became a hot topic. Yoo In-chon, Minister of Culture, Sports and Tourism, said that “a review of the free admission system for national and public museums and art galleries is necessary,” based on public opinion gathering.

The main reason this topic of free admission was raised was that private art museums are struggling to operate due to free admission at national and public museums and galleries. Since national and public museums and galleries receive government funding, it is true that private art museums are at a disadvantage in competition. There is also a need to enhance the competitiveness of private art museums to ensure cultural diversity.

However, if the approach is to reconsider the free admission policy of national and public museums and galleries, one might question whether that is the right direction. It is important to consider that the free admission policy of national and public museums and galleries provides cultural enjoyment opportunities for low-income groups and brings significant social benefits. Would it not be better to maintain the purpose of the free admission policy, which has great social benefits, while discussing ways for private art museums to become more competitive?

On August 12 last year, citizens waiting in a long line to enter the "Lee Kun-hee Collection Special Exhibition: Lee Jung-seop" held at the National Museum of Modern and Contemporary Art in Jongno-gu, Seoul. Photo by Kim Hyun-min kimhyun81@

Not all exhibitions at national and public museums and galleries are free. Large-scale special exhibitions are operated with admission fees, and these paid exhibitions attract many visitors. The National Museum of Modern and Contemporary Art is currently holding retrospectives of Kim Ku-rim and Jang Uk-jin, charging an admission fee of 2,000 won. Earlier this year, the National Museum of Korea’s National Gallery Masterpieces exhibition charged 18,000 won (for general adults) but was sold out every day. The Edward Hopper exhibition at the Seoul Museum of Art, which attracted great attention until August, also charged 17,000 won. If the exhibition content is good, the public will pay whatever the cost. Ultimately, it is not the admission fee but the quality of the exhibition content that matters.

The Seoul Opera Company held a performance titled “Happiness for 1,000 Won; Opera Gala Adieu 2023” at the Sejong Center for the Performing Arts on the 9th. While VIP seats for opera gala performances usually exceed 100,000 won, the admission fee for this performance was 1,000 won for all seats. “Happiness for 1,000 Won” is one of the social contribution programs started by the Sejong Center in 2007. The Sejong Center also operates “Happy Companion Seats” for those who find even the 1,000 won admission fee burdensome. This system allows someone else to pay the cost on behalf of those who cannot afford the 1,000 won, enabling them to attend the performance. The goal of Sejong Center’s “Happiness for 1,000 Won” is to expand the base of people who can enjoy culture along with social contribution. It provides opportunities for low-income groups who cannot attend opera or musicals due to expensive ticket prices and creates a chance to bring them into the performance market.

The free admission policy of national and public museums and galleries, which are operated with government funds, may not be fair competition and might not align with market principles. However, if it serves as an opportunity to expand the market size, like Sejong Center’s “Happiness for 1,000 Won,” ultimately the entire art community may benefit.