Join Us Points of Unity FAQ Bylaws

Join Us

Open AU Meetings will be held on the last Sunday every month. We are here for artists and arts workers and those with no union power or managerial power. If you are an artist or arts worker experiencing problems in your workplace, please contact the AU to talk about support we may be able to provide. We have worked with artists and arts workers to engage institutions on issues of workplace protections, including race and gender-based discrimination, and workers rights. Email to speak to the AU’s Organizing Committee in confidence about your experiences. We will not disclose any names or identifying information.. We will be in touch to have a conversation with you regarding your issue or concern Please email to be added to our mailing list and to receive updates on our meeting schedule.

Current Members

  • Public Supporters until membership opens:
  • Aaron Hughes
  • Ada Potter
  • Alice Aster
  • Alina Tenser
  • An Duplan
  • Angel Martinez
  • Audrina Warren
  • billie anania
  • Brett Wallace
  • Clark Filio
  • Colleen Asper
  • Corinna Peipon
  • Dana Kopel
  • Danielle Wu
  • Emily Gherard
  • Francisca Benitez
  • Gabo Camnitzer
  • Gee Wesley
  • Ian Epps
  • Jennifer Dalton
  • Julia Kwon
  • Katherine Earle
  • Kathrynn Rosati
  • Kira Simon-Kennedy
  • Lee Painter-Kim
  • Marnie Briggs
  • Melanie Lowe
  • Michael Rakowitz
  • Neta Bomami
  • Nikki Columbus
  • Oscar Guerrero
  • Patrick Carlin Mohundro
  • Peter Walsh
  • Rosana Caban
  • sgp
  • Sharilyn Neidhardt
  • Shori Sims
  • Sindhu Thirumalaisamy
  • Sunny Iyer
  • Tyler Matheson
  • Vanessa Thill
  • Willa Goettling
  • William Powhida
  • Zoey Lubitz

Points of Unity

    • The Arts Union represents all workers in the arts, whether making art or installing it, curating art or protecting it, writing about art or maintaining the spaces in which it is shown. Our labor may be self-employed, salaried, contracted, or temporary. Despite different roles, income levels, and degrees of visibility, we organize to improve each other’s daily lives.
    • Everyone has the right to a living wage and safe working conditions, including the right to work free from harassment based on race, ethnicity, gender, sexuality, ability, or age. We reject the notion that exposure, opportunity, or experience are acceptable substitutes for fair financial compensation and equitable treatment.
    • We demand the decentering of whiteness and, ultimately, the abolition of white supremacy. We acknowledge the fundamental violence of white supremacy in shaping property relations and commit to dismantling whiteness as it manifests in the arts and in the world. We recognize that no organizing effort can succeed in creating real justice without directly combatting the ways in which racism and anti-Blackness continue to structure every aspect of our social, political, and economic relations. We reject whiteness as a scientific category or legitimate ethnic group, and we understand whiteness as a relatively recent historical invention and tool of oppression.
    • Art is a symbolic representation and is not a substitute for material change. A “political” artist is one who engages in active solidarity with other arts workers, activists, communities, and labor organizations.
    • Our work begins where we are, in the deeply compromised and instrumentalized realm of art and culture, a microcosm of the white patriarchal capitalist system in which we live. But complicity is not an excuse for inaction. We are organizing to improve our working conditions within the industry as it currently exists, while simultaneously fighting to abolish and remake it anew. 
    • We advocate for robust public funding for the arts, including community-led spaces and arts education programs, and the removal of economic barriers such as higher-education tuition and museum-admission fees.  
    • We are organizing to support cooperative labor, solidarity economies, and mutual aid in place of extractive capitalism and donor-class philanthropic structures, which are built on violence and expropriation. These forms encourage artwashing, reputation laundering, financial exploitation, and harmful speculation. We challenge the hegemonic control of culture by the ruling class.
    • We are fighting against all intersected forms of oppression: settler colonialism, whiteness, capitalism, patriarchy, cis-heteronormativity, sexism, ableism, ageism, xenophobia, neurotypicality, and environmental racism. We believe that land restitution, reparations for the descendants of slavery and the abolition of capitalism are imperative to our collective survival. We see the art world as a site of opportunity to enact many of these revolutionary initiatives now.
    • The Arts Union works to support labor organizing in all industries. Our collective struggles are intertwined, and we act in solidarity with like-minded groups around the world. 


The goal of this FAQ is to help clarify the status of, and introduce potential members to, the group’s ongoing work. The document will be edited to reflect our conversations.

How is the Arts Union Structured?

Link to our Bylaws. General Meetings are held every other week. Committee meetings run on their own schedules.

Is there a fee to be a member?

There will be dues for membership, but we have not implemented them yet. When we do, it will be democratically implemented with care.

How will these goals be realized? What is the relationship between long-term and short-term goals?

Our group brings together artists and art workers who share our vision for the art world. We understand that you make power by using power, so our short-term initiatives are designed to be achievable. If we can position ourselves to impact future institutional conflicts, we will raise the general profile of our union and thus build power to address other initiatives. While we are based in the United States, we are engaged in international industry-wide movement-building to build a foundation of power.

What are the longer-term goals in the institutional sector?

We see the ongoing, seemingly never resolved national confrontation between workers and management at arts institutions along the lines of race, colonization, and class violence as a clear indication that the very roles and structures of all arts institutions need to be broken down entirely. This goes to the heart of the mission of our group.

What longer-term goals does the union have for the commercial sector?

We aim to promote a long-term agenda that will address the precarity and concentration of power that the current configuration of the art market enables through “tried and true” labor organizing tactics such as strikes, boycotts, proposals, grievances, campaigns, and political education.

Artists and arts workers are atomized and disorganized, and yet, gallerists, institutions, and collectors are all extremely well organized. There are many groups and associations that tend to the long term commercial interests of all members of this industry except artists and arts workers, and so we believe that in simply organizing ourselves around promoting our best interests new forms and goals will naturally grow out of our conversations. The potential for cooperative artist and arts worker owned galleries, schools, and institutions is particularly exciting.

What short term goals does the union have for the commercial sector of the art world?

Short term goals on the commercial side of the art world include intervening in business conflicts between artists and commercial entities. Examples include private, direct conflict mediation, public statements, and in-person actions and picket lines. Additionally, we have discussed implementing a best practices contract or something similar to preemptively address some of these issues.

All of our conversations point toward a common-sense initiative of allowing artists to capture residuals on secondary-market sales of their work. This is one of our main objectives. We acknowledge that this system would only be as strong as its ability to be enforced, and would thus require some level of cooperation among institutions, which is only achievable alongside a political movement to support it.

What role does the union play in institutional conflicts, such as the Kanders controversy at the Whitney Museum Of American Art?

Intervening in institutional conflict is one of the primary functions of the union, and the main impetus for these conversations. From the beginning, we hope to set up some mechanism to enable the union to respond democratically to certain grievances. We see the current disorganized state of our field as a burden on certain individuals; with each new conflict, the task of rallying artists to the cause largely starts from scratch.

Regarding the Kanders/Whitney narrative, we see the initial letter signed by over 100 museum staff as something that would have triggered a response from our group. An internal democratic mechanism is in place to approve a proposed response. In other cases, museum staff may come directly to us to discuss a developing situation, and we may work with them to orchestrate an initial public response. Everything the Arts Union does is membership driven, and so it’s up the members to steer the Union through their proposals.

What kind of organization is it formally? Trade union? Non-profit?

At present, we resemble a trade union but will not affiliate with a larger union or seek recognition as a union by the NLRB, in order to be more flexible with our future actions and campaigns. The laws regulating labor and licensing do not usually relate to the primary activities of artists, who are not employed by any single arts organization. As many of our prospective members are employed in multiple capacities, often on a freelance basis; if we affiliated with an actual union, it would present conflicts with the other unions that might represent workers at their workplaces. However, we are in regular conversation with members and leaders of other recognized unions, and many of our members are also a part of other unions.

Within the spectrum of kinds of labor organizations, there are many different models and not all successful organizations have needed formal union affiliations or bargaining agreements. Many European film unions work this way, and the first Artists Union from the 1930s was unaffiliated for many years when it successfully lobbied for the WPA funding.

What is the main objective of the group?

On the broadest level, our objective is to redefine and refocus the values, institutions, and structures of the art world. We recognize that arts work is akin to other forms of labor, and yet, we also recognize that arts labor comes with additional complications that no existing labor organization within the field is currently addressing.

We see the current configuration of the art world as a place that casually embraces oppressive politics, including but not limited to white supremacy, gross economic inequality, (trans)misogyny, and environmental destruction, without any structural accountability. These problems cannot be undone without power. Building power to challenge these issues starts by standing up and standing together. When we fight for our rights as workers, we can change the nature of the industry, to make art resemble the values that drew us to it in the first place.

We are building on the work of groups such as the Artists Union of 1933, The Federation of Artists of 1871, and the Black Emergency Cultural Coalition of 1968, among many others, whose legacies we hope to build on.

Who are the group’s members?

We are currently organizing with artists and arts workers: arts writers, curators, academics, historians, educators, arts organizers, gallery or museum workers, and art handlers—more or less all members of the art world who are not dealers, major collectors, funders, gallerists, consultants, or high-level institutional administrators.

We hope that gallerists, directors, and/or dealers will support us in this organizing effort, and we are happy that there are a number of organizations that already cater to their interests.

What is the union’s scale? National? International?

Most of our current membership is based in the United States. We hope to be able to incorporate international members who deal with US institutions, but as of now, we are primarily in dialogue and seeking coalition with existing international groups, such as Art Workers Italiabbk berlin (Professional Association of Visual Artists Berlin)Cultural Workers Alliance GreeceThe Association of Norwegian Visual Artists (NBK), and Young Artists Society (UKS), among others.

Bylaws of The Arts Union