The Metropolitan Museum of Art announced at midday that it will strip the Sackler name from seven of its exhibition spaces, including the well-known Temple of Dendur room with its expansive windows overlooking Central Park. Mortimer and Raymond Sackler, who led Purdue Pharmaceuticals during its controversial launch of OxyContin, began contributing to the Met nearly half a century ago. This move comes as part of a broader trend among cultural institutions in the US and UK to distance themselves from the Sackler name, following revelations of a strategy to use philanthropy to separate the family’s image from the opioid crisis.
Notably, two galleries at the Met will retain the Sackler name, as they honor Arthur Sackler, who passed away in 1987 before OxyContin’s release. However, some activists argue that Arthur’s earlier work at Purdue laid the groundwork for the aggressive marketing strategies that fueled the opioid epidemic. In 2017, photographer and opioid addiction survivor Nan Goldin founded PAIN (Prescription Addiction Intervention Now) after uncovering Purdue’s deceptive marketing tactics. The group has been pivotal in raising awareness and pressuring museums to sever ties with the Sacklers.
Despite significant legal actions against the Sackler family, including a $4.5 billion settlement with the Department of Justice, the family faces a nine-year prohibition on naming rights. Recent publications, like Patrick Radden-Keefe’s ‘Empire of Pain,’ have further damaged the Sacklers’ public image. The Met’s decision follows similar actions by the Tate Modern, the Guggenheim, and the Louvre, which have all taken steps to distance themselves from the Sackler legacy.
Dan Weiss, president and CEO of the Met, called the Sacklers’ decision to remove their name a “gracious gesture,” reflecting a diplomatic stance amid widespread criticism. The announcement is a victory for PAIN and other advocacy groups, whose efforts have also led to the opening of New York City’s first overdose prevention centers. Patrick Radden-Keefe noted the significance of the Met’s decision for other institutions still grappling with the Sackler association.
Nan Goldin expressed optimism about the impact of their activism, stating, “There’s a power to feeling like a group of 12 people affected a major museum like this.” Observing the Temple of Dendur room, she remarked, “You can breathe in it now. It has more air.”
