[5] In 2018 the museum had about 120,000 visitors before then closing for two and a half years, during which an extensive refurbishment and building programme took place.

[13] The almshouses were funded by a bequest from Sir Robert Geffrye, a merchant who had served as Lord Mayor of London and Master of the Ironmongers' Company.

[15] In 1911 the Ironmongers' Company decided the area had become too dangerous for pensioners, moved them to the country, and sold the buildings to the London County Council (LCC).

[15] The museum expanded in 1998 with the opening of a horseshoe-shaped extension designed by Branson Coates Architecture,[20] providing space to add a 20th Century exhibition, shop and education rooms.

This is about how even the humblest of homes reveals rich, unique stories, a recognition that culture is not only the domain of museums but of all of our front rooms, bedside tables and the snaps in photo albums (or on phones) of years of family dinners in the room with slightly ropey wallpaper, the stopped clock, those old plates and granny’s dining table.

"[23] The Times dwelt on Michael McMillan's West Indian front room: "The stand-out set is the new West Indian front room circa 1976 with its glittery cushions, pineapple ice bucket and kitsch souvenirs from St Vincent.

"[9] The Museum's director Sonia Solicari views the almshouse as "a viable model for 21st-century housing", comparing it to the modern concept of pod living and saying that "The home of the future is looking a lot like the past.

[25] In 2023 the museum began to host exhibitions exploring the meaning of home to diverse communities, with disability rights activist Paul Darke curating an exhibition displaying toys that represent disability including characters from Ironside, The Simpsons and the Barbie collection.

[28][29][30][31] In June 2023, the museum announced the joint acquisition with Tate of Rebecca Solomon's 1861 painting, A Young Teacher.

The Museum will work closely with its stakeholders as anticipated additional guidelines are issued by the Department of Digital, Culture, Media and Sport on effective decisions concerning heritage, as well as the process around Listed Building Consent.

We believe there is potential to retain the statue on site but in an alternative and less prominent space, where we can better tell the full story of the history of the buildings and Robert Geffrye's life, including his involvement in transatlantic slavery … We are confronting, challenging and learning from the uncomfortable truths of the origins of the museum buildings, to fulfil our commitment to diversity and inclusion.