May 28, 2026
Last evening, Newfields held its 143rd Annual Meeting. Newfields’ leadership shared appointments to the Board of Trustees and Board of Governors. Newfields also unveiled a new Five-Year Strategic Plan, which is the culmination of nine months of listening, learning and thoughtful dialogue with community leaders, partners, donors, volunteers, staff and Trustees.
The Five-Year Strategic Plan draws inspiration from Newfields’ 2017 Master Plan. It carries forward key elements, core ambitions, important projects, and enduring priorities from that work.
Left to right: Le Monte G. Booker, Sr.; Jonathan Wright; Belinda Tate; Kenneth Brummel; Doug Singleton; Myrta Pulliam.
Le Monte G. Booker, Sr., President & CEO of Newfields, shared that the new Strategic Plan is “Grounded in the belief that Newfields is a place where art and nature come together to inspire, connect and enrich lives,” and stated, “The plan is designed to ensure that the institution remains relevant, trusted and vibrant for generations to come.”
The [Strategic Plan] is designed to ensure that the institution remains relevant, trusted, and vibrant for generations to come.
– Le Monte G. Booker, Sr. President and CEO of Newfields
Five pillars underpin and support our vision and mission; the Newfields Promise, Art, Nature, Community, and Sustainability. Together, these pillars define how Newfields will strengthen excellence, deepen community connection, expand access and belonging, and ensure long-term resilience.
Newfields also announced an updated mission: To enrich lives and build community through exceptional experiences with art and nature. As well as a modified vision statement: A world connected through art and nature.
Newfields' Five-Year Strategic Plan will move the organization in a bold new direction: positioning Newfields as a world-class cultural destination where belonging, creativity and purpose define every experience.
Installation view of Impressionism Across Generations: The Pissarro Family Legacy Damon C. and Kay D. Davis Lab, May 22, 2026–January 10, 2027. Artworks © their respective creators.
In addition, Jonathan Wright, Ruth Lilly Director of The Garden and Fairbanks Park, said more than 23,000 new plants were added to our living collection across The Garden in 2025. Even more will be added with the completion of new projects and exciting investments in spaces like our re-imagined Flower & Vegetable Garden (currently under construction).
Image courtesy of Ted Givens.
Wright also gave a sneak peek of what guests can expect at the ten-year anniversary of Winterlights, playing on the theme of “tin” as the traditional symbol of this milestone. Think tin-sel draped trees, the shimmer of disco ball cone trees and snowmen, more-than-a-few bespoke trees, and a color morphing orbs on the Recreation Lawn.
And Belinda Tate, The Melvin & Bren Simon Director of the Indianapolis Museum of Art shared her excitement for future programming as well, highlighting two new acquisitions that elevate the voices of women artists whose work expands how we understand identity, history, and lived experience.
New Acquisition Highlight #1: Sheila P. Bright’s Untitled 27
Sheila P. Bright (American, b. 1967), Untitled 27, 2005, printed 2026, chromogenic print, 30 x 24 in. Indianapolis Museum of Art at Newfields, Purchased with funds provided by Megan Abeln in honor of 250 years of our nation's independence, 2026.4. © Shelia Pree Bright.
According to Tate, “[t]his acquisition was made in recognition of our nation’s upcoming 250th anniversary and honors the personal histories of veterans whose sacrifices have helped preserve our freedoms.”
New Acquisition Highlight #2: Christina Ramberg’s Patience Corners
Christina Ramberg (American, 1946–1995), Patience Corners, 1985, stitched cotton fabric, cotton batting, 64 x 76 in. Indianapolis Museum of Art at Newfields, Gift from the Collection of Michael J. Robertson and Christopher A. Slapak, 2025.12. Courtesy of Corbett vs. Dempsey and the artist.
Tate adds, “Patience Corners reflects Christina Ramberg’s extraordinary ability to transform everyday imagery into psychologically charged compositions. Quilting was a major part of Ramberg’s art output and something she focused on later in her career. Her meticulous visual language explores themes of identity, bodily experience, and the expectations placed upon women. Ramberg was a central figure among the Chicago Imagists. Her work has experienced significant national recognition in recent years, including a major retrospective at the Art Institute of Chicago.”
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