The Art World's Quiet Revolution: Why Kevin Tervala's Move to Mia Matters
When I first heard about Kevin Tervala’s appointment as the chief of curatorial affairs and exhibitions at the Minneapolis Institute of Art (Mia), my initial reaction was one of quiet excitement. Not because it’s a typical leadership shuffle in the art world—those happen all the time—but because this move feels like a subtle yet profound shift in how museums are redefining their roles in the 21st century.
What makes this particularly fascinating is the intersection of Tervala’s background and Mia’s unique position in the art landscape. Tervala, a Harvard-trained scholar with a Ph.D. in African studies, has spent years curating exhibitions that challenge traditional narratives. His work at the Baltimore Museum of Art (BMA), particularly on shows like A Perfect Power: Motherhood and African Art, demonstrates a commitment to amplifying underrepresented voices. Mia, on the other hand, is known for its encyclopedic collection that prioritizes art from beyond Europe and the U.S. This isn’t just a job change—it’s a meeting of minds between a curator who values global storytelling and a museum that has long embraced diversity in its holdings.
From my perspective, this pairing is more than symbolic. It’s a statement about where museums are headed. In an era where institutions are under pressure to be more inclusive, accessible, and relevant, Tervala’s appointment feels like a strategic move by Mia to double down on its mission. His emphasis on community engagement and partnerships—both local and international—suggests a museum that wants to be more than a repository of objects. It wants to be a cultural hub that actively dialogues with the communities it serves.
One thing that immediately stands out is Tervala’s focus on storytelling. In an interview, he mentioned that exhibitions should “grab people, not only with the power of the artworks but also through storytelling.” This isn’t just curator-speak; it’s a recognition of a deeper truth. Museums are no longer competing solely with other museums—they’re competing with Netflix, TikTok, and a million other distractions. To survive, they need to offer experiences that resonate on a personal and emotional level. Tervala’s approach, which blends intellectual rigor with accessibility, feels like a blueprint for how museums can stay relevant in a fragmented attention economy.
What many people don’t realize is how much this appointment reflects broader trends in the art world. The shift toward decolonizing collections, prioritizing non-Western art, and engaging with diverse audiences isn’t just a moral imperative—it’s a survival strategy. Museums that fail to adapt risk becoming relics of a bygone era. Tervala’s move to Mia is a signal that even midwestern institutions, often overlooked in favor of coastal heavyweights, are at the forefront of this transformation.
If you take a step back and think about it, Tervala’s career trajectory is also a testament to the evolving role of curators. No longer just gatekeepers of knowledge, they’re now expected to be cultural translators, community builders, and even media strategists. His ability to navigate these multiple roles—evidenced by his tenure at BMA, where he managed a large team and curated high-profile exhibitions—makes him an ideal fit for Mia’s ambitions.
This raises a deeper question: Can museums truly bridge the gap between scholarship and accessibility? Tervala seems to think so, and his track record suggests he might just pull it off. But it won’t be easy. Balancing academic rigor with mass appeal is a tightrope walk, and even the most well-intentioned efforts can fall flat. Personally, I think the key will be in how Mia leverages its collection to tell stories that feel both universal and specific—stories that resonate with a Minnesotan audience while also speaking to global themes.
A detail that I find especially interesting is Tervala’s ambition to bring “great art from around the world” to the Twin Cities. This isn’t just about importing masterpieces; it’s about creating a dialogue between local communities and global cultures. In a city as diverse as Minneapolis, this could be a game-changer. But it also raises questions about representation and ownership. Who gets to tell these stories? How do museums ensure that the voices of the communities they’re showcasing are front and center? These are challenges Tervala will need to navigate carefully.
What this really suggests is that the future of museums lies in their ability to be both local and global, both scholarly and accessible. Tervala’s appointment at Mia feels like a step in that direction. It’s a reminder that the art world, for all its glamour and prestige, is ultimately about people—the stories we tell, the histories we preserve, and the connections we make.
As Tervala prepares to start his new role on September 8th, I can’t help but feel a sense of anticipation. This isn’t just another curator taking the helm of another museum. It’s a moment that could redefine what museums can and should be. And in a world that’s increasingly divided, that’s something worth paying attention to.
