[4] The museum's location on the grounds of Oldfields allowed architect Ambrose Madison Richardson to build on the idea of an acropolis while also utilizing the natural features of the site.

[4] In 1986, the IMA's board members chose Edward Larrabee Barnes to design the Hulman Pavilion, a new wing of the museum which housed the Eiteljorg collection of African and South Pacific art.

[32] While director, Anderson oversaw the opening of the Virginia B. Fairbanks Art & Nature Park: 100 Acres and a conservation science-focused laboratory, as well as the acquisition of the mid-century modern Miller House and Garden estate.

[39][40][41] The Indianapolis Star stated that while the previous six years under Anderson had seen impressive and well-received art world achievements, such as the acquisition of the Miller House and securing the bid for the Venice Biennale, liberal spending had led to a decrease in the endowment and the alienation of some big donors.

[42] The IMA was struggling with finances at the time, at least in part due to the Great Recession, as well as the departure of two fundraising chiefs from the museum and a top donor from the board of governors.

[47][41][48][49][50] In April 2015, IMA leadership ended the organization's policy of free admission to all visitors, a move which was largely criticized by the media and patrons,[51] but that the museum maintained was needed for financial stability.

The initiative formally changed the names of the IMA, The Gardens, The Virginia B. Fairbanks Art & Nature Park, and Lilly House to include the phrase "at Newfields" appended to the end of each.

This exercise allowed the institution to identify and promote its masterpieces, while slating lower quality pieces for deaccessioning in accordance with national museum standards.

Venable's thoughts on the unsustainability of rapid collection growth and building expansions to accommodate more and more art brought him national attention, but proved controversial to some, including the IMA's staff.

[45][74] The phrase attracted significant criticism from the press and art community, and sparked a larger discussion of what was described by some former employees as a "toxic" and "discriminatory" culture at Newfields.

[39][78] In November 2021, Newfields announced plans to revamp their galleries, with "global thematic displays" that reorganize works by theme, rather than time period or artistic movement.

[111] The large-scale outdoor project now encompasses a diverse landscape, including wooded areas, wetlands, open fields, a lake and a series of hiking trails that guide visitors past site-specific works of contemporary art.

[114] The first eight artists selected to create site-responsive pieces were Atelier Van Lieshout, Kendall Buster, Alfredo Jaar, Jeppe Hein, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel.

[27] In addition to the home's significance as a representation of the American country house movement, Oldfields' gardens and grounds are a rare example of a preserved estate landscape designed by Percival Gallagher of the Olmsted Brothers firm.

Modified by Percival Gallagher from the original landscape design of Oldfield, its current name is in honor of Newfields trustee and former CEO of Eli Lilly and Company, Richard D.

[138] Significant pieces include a female ancestor figure of the Senufo people and Magbo helmet mask for Oro association by master carver Onabanjo of Itu Meko.

[9] Some notable pieces include an Imperial Russian court dress by designer Charles Frederick Worth and Bodhisattva of Wisdom (Mañjusri), a Ming Dynasty silk panel.

[153][154][155] Former director and CEO Max Anderson spoke of the need to shift away from museums that "collect, preserve, and interpret", encouraging the IMA and other institutions to instead "gather, steward, and converse" in a way that increases accountability and responsiveness.

[156] The IMA's collecting and deaccessioning practices have reflected this perspective, utilizing technology to provide public access, openness, and transparency in museum operations.

[175][176][177] In November 2021, Newfields announced plans to begin organizing galleries into "global thematic displays" that group works by theme, rather than time period or artistic movement.

[189] The IMA's selection over numerous other top American museums was seen as a distinguished honor for the organization as they represented the United States in the "world's most prestigious contemporary art exhibit".

[191] The IMA's proposal to create an exhibition featuring the work of Puerto Rican artists Jennifer Allora and Guillermo Calzadilla was accepted by the Bureau of Educational and Cultural Affairs at the U.S. State Department.

Harvest Nights featured a Halloween-themed path of Jack-o-lanterns and sound effects that led to the Lilly House, where a ghost story of the mansion's past was projected onto its facade.

[217] The IMA relinquished the standard after concluding that the majority of artworks could sustain a greater range of humidity, so permitting the museum to save on the cost of energy bills and reduce its carbon footprint.

[223] The museums endowment consists of approximately 120 individual funds devoted to building operations, bond costs, personnel expenses, legal fees and other purposes.

The Second Century Society, later known as the IMA Council, was founded to celebrate donations of $1,000 or more to the museum's annual operating fund, attracting more than 200 contributors during its inaugural year.

[3] IMLS also cited the IMA's free admission,[229] greening and sustainability initiatives, efforts to reach virtual audiences, and improvements in accessibility throughout the museum.

[275] Dropping the admission charge, which then director and CEO Max Anderson described as a barrier that kept people away, resulted in increased attendance, membership, and donor support.

[216] In addition to its focus on technology and school outreach, the museum provides classes, lectures, and film series, as well as ongoing tours of the collections, historic properties, and grounds.

[13][15] TAP is a mobile tour application for iPod Touch that presents visitors with content related to the IMA's collection, such as artist interviews, text and audio files, and pictures.