A New Vision for Design: Cooper Hewitt Appoints Michelle Millar Fisher as Chief Curator

The Cooper Hewitt, Smithsonian Design Museum, widely regarded as the premier institution for the study and celebration of design in the United States, has announced a significant leadership transition. On July 13, Dr. Michelle Millar Fisher will officially step into the role of Chief Curator, a position that places her at the helm of the museum’s intellectual and creative direction.

As Chief Curator, Dr. Fisher will oversee the museum’s five curatorial departments and its dedicated conservation team. Perhaps most notably, she will act as the primary steward of the Cooper Hewitt’s permanent collection—a staggering archive of more than 215,000 objects that trace the history of human innovation from ancient Egyptian artifacts to the cutting edge of contemporary digital code. Dr. Fisher’s appointment follows the planned retirement of Matilda McQuaid, who departs this spring after an extraordinary 24-year tenure that helped define the modern identity of the Carnegie Mansion-based institution.

The Mandate: Defining the Future of Design

Dr. Fisher’s role is not merely administrative; it is visionary. At a time when the field of design is grappling with issues of equity, sustainability, and technological disruption, her mandate is to ensure the museum remains an agile and relevant force.

Maria Nicanor, Director of the Cooper Hewitt, emphasized that the transition represents both a celebration of past achievements and a bold leap into the future. "Michelle is a force in the design world," Nicanor noted in an official statement. "Her arrival marks an exciting new chapter at Cooper Hewitt, one rooted in gratitude to Matilda McQuaid for her leadership and legacy. From here on, Michelle’s committed curatorial approach and passion for making design accessible to all will energize the museum’s creative vision, propelling it into the future. We are truly excited to have someone with her experience, care, and intellectual rigor join the team."

For her part, Dr. Fisher approaches the position with a philosophy that centers on human impact. "People are the engines and dreamers behind all good design," she stated. "It is my strong desire to embrace this role by fostering the positive, innovative, and humane approaches to both design and the workplace that I have been fortunate to thrive in. I am beyond lucky to join such a dedicated and smart team."

Chronology: A Career Built on Rigor and Advocacy

Dr. Fisher’s path to the Cooper Hewitt has been defined by a commitment to interdisciplinary inquiry and institutional transparency. Her career trajectory demonstrates a deep-seated interest in how objects reflect power dynamics and societal needs.

Early Foundations and MoMA

Dr. Fisher’s professional journey in New York began with a formative period at the Museum of Modern Art (MoMA) from 2014 to 2018. During her tenure as a curatorial assistant in the Department of Architecture and Design, she contributed to several landmark exhibitions that pushed the boundaries of traditional museum displays, including:

• "Design and Violence" (2013): A project that challenged the definition of design by examining the intersection of creative production and destructive forces.
• "Design and Data Visualization" (2015): An exploration of the nascent era of big data.
• "Symbols and Icons" (2016): An analysis of how visual communication shapes modern identity.
• "Items: Is Fashion Modern?" (2017): A comprehensive survey of 111 garments and accessories that have had a profound impact on the world in the 20th and 21st centuries.

Philadelphia and the Intersection of Futures

Following her time at MoMA, Dr. Fisher joined the Philadelphia Museum of Art as the Louis C. Madeira IV Assistant Curator of European Decorative Arts. In 2019, she co-organized the exhibition "Designs for Different Futures," a collaborative effort that explored how design can help us navigate complex, long-term societal challenges, from environmental crises to the evolution of human biology.

The MFA Boston and Beyond

Most recently, Dr. Fisher served as the Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts (MFA), Boston. Her work there has been characterized by an exploration of the intersections between people, power, and the material world. Her latest research—culminating in the book Craft Schools: A Traveler’s Guide and the exhibition "Think With Your Hands: Learning Through Craft Schools"—underscores her commitment to traditional craft as a living, evolving practice.

Advocacy and Institutional Transparency

Dr. Fisher is recognized not only for her curatorial work but also for her advocacy regarding the museum sector itself. In 2019, she co-founded Art + Museum Transparency, a critical initiative that launched the "Salary Transparency Spreadsheet." This project sparked a nationwide conversation about equity, compensation, and labor practices within the art world, proving that Dr. Fisher is a leader who is as concerned with the internal health of institutions as she is with the objects they display.

Furthermore, her role as a co-founder of ArtHistoryTeachingResources.org in 2011 highlights her lifelong dedication to democratizing education, a mission that aligns perfectly with the Smithsonian’s mandate to share knowledge with the public.

Supporting Data: The Scope of the Cooper Hewitt

The institution Dr. Fisher is set to lead is a complex ecosystem. As a component of the Smithsonian Institution, the Cooper Hewitt serves as a nexus for global design dialogue.

The Collection

• Total Holdings: Over 215,000 objects.
• Time Span: From ancient Egyptian faience (c. 1100 BC) to contemporary, high-tech 3D-printed products and complex digital code.
• Diversity of Mediums: Textiles, ceramics, metalwork, furniture, graphic design, and emerging digital media.
• Strategic Role: The collection is not merely an archive; it is a pedagogical tool used for exhibitions, master’s programs, and public engagement.

The Setting

Located in the historic Carnegie Mansion on New York City’s "Museum Mile," the Cooper Hewitt is uniquely positioned to bridge the gap between historical design and the rapid-fire changes of the 21st century. By integrating education programs, publications, and expansive online resources, the museum maintains a presence that extends far beyond its physical walls.

Implications: A New Era for Design Curation

The appointment of Dr. Fisher signals a potential shift in how major museums interpret "design." While historical decorative arts remain a vital component of the museum’s identity, the incoming Chief Curator’s history suggests that the Cooper Hewitt may increasingly focus on the social, political, and economic implications of the objects in its care.

Challenging Traditional Narratives

Dr. Fisher’s work on Designing Motherhood: Things That Make and Break Our Births is a prime example of her methodology. By treating objects associated with birth—from forceps to breast pumps—as design artifacts, she forces the audience to confront the "material culture" of the most universal of human experiences. The project’s success, including a Pew Center for Arts & Heritage Award and the 2025 Architectural Review Award for Research in Gender and Architecture, indicates that this human-centric, intersectional approach resonates with both the public and the critical community.

Sustaining the Smithsonian Legacy

As Dr. Fisher assumes her duties this summer, the museum community will be watching closely. Her challenge will be to balance the preservation of the Carnegie Mansion’s legendary collection with the need for experimental, forward-looking programming.

Her academic background—a Master of Arts and Philosophy from the University of Glasgow and a doctorate in art history from the CUNY Graduate Center—provides the theoretical foundation required to lead such a prestigious department. Moreover, her status as a 2022 fellow at the Center for Curatorial Leadership underscores her preparation for the complexities of high-level museum administration.

Conclusion

The transition at the Cooper Hewitt marks a moment of both continuity and evolution. As Matilda McQuaid retires, the institution is not merely replacing a staff member; it is signaling a commitment to a new generation of curatorial leadership. With Dr. Michelle Millar Fisher at the helm, the Cooper Hewitt appears poised to continue its work as a global beacon for design, ensuring that as the world changes, the way we study, value, and understand the objects that define our lives remains at the forefront of the cultural conversation.