Together they inaugurated a programme of international contemporary art, starting with an exhibition by Joseph Beuys in August of that year.
Beuys' large installation from that show Stripes from the House of the Shaman was sold to the National Gallery of Australia, Canberra.
[5] The Tate and National Galleries of Scotland, joint recipients of d'Offay's Artist Rooms "part gift, part purchase", publicly announced they would be severing contact with him[6] stating "The work of Tate and NGS is underpinned by values of fairness, equality and respect and the right to work free of sexual harassment.
[8] Despite the issued statement and resignation, d'Offay's name was kept in prominent display in Tate Modern's Turbine Hall during this period.
[9] On 8 April 2019 it was confirmed in a joint statement by Tate and NGS to several media outlets that the galleries would be resuming links with d'Offay.
[10] It was also revealed, in an article by Ben Quinn in the Guardian that this decision "to quietly resume links with the influential art patron Anthony d'Offay, a year on from allegations against him of sexual harassment, followed intensive lobbying of trustees, it is understood."