Across the UK, museums are facing increasingly testing times. Financial pressures are more acute, audiences are changing their habits and local authorities that once underpinned cultural services are withdrawing support. A recent survey by the Museums Association found that three-in-five small museums fear closure because of declining revenue. For many institutions, particularly smaller ones, the prospect of competing for visitors, funding and attention is daunting. Yet collaboration offers a route not simply to survive but to thrive.
The Art Fund’s £5 million ‘Going Places’ initiative that will enable museums to share their collections across the country. The idea is simple but powerful: rather than duplicating exhibitions or trying to mount ambitious shows alone, museums can pool resources, combine expertise and rotate significant objects. This ensures that rare or iconic items reach more communities while costs are spread more evenly. It also counters the criticism that national collections remain locked away in London, providing greater equity of access. Collaboration here is not just a strategic choice, it is a matter of public responsibility.
Government funding schemes are beginning to reflect this reality. Earlier this year, the Department for Culture, Media and Sport (DCMS) launched the Museum Renewal Fund, providing £20 million to help institutions invest in their futures. While much of this will be spent on repairs and audience development, collaborative projects are at the heart of the criteria. A partnership between museums can demonstrate resilience, shared learning and the ability to deliver value for money, all of which appeal to funders who want to see evidence of sustainability rather than dependency.
There is a long tradition of collaboration within the heritage sector. The challenge now though is that financial stress can often push organisations into a mindset of competition. Visitor numbers become the primary measure of success and institutions compete for the same limited pot of donations, grants and sponsorship. In such an environment, sharing knowledge or programming can feel risky. Yet the risks of isolation are greater. When museums close or cut services, the impact is not confined to their own institution. Communities lose access to heritage, schools lose an educational resource and the collective cultural essence becomes evaporates.
One area where collaboration is already paying dividends is education. Research published this year highlights the difficulties schools face in organising visits. More than 60 percent of teachers reported that they had not taken pupils to a museum in the past year, largely due to the cost of transport. Initiatives like the Time Odyssey programme are stepping in to create shared digital content and joint resources that can be accessed in classrooms across the country. Museums working together in this way are not simply filling a gap left by public funding cuts, they are extending their reach into places that might never have been able to visit in person.
The financial context is important. A study in February this year revealed that declining income is forcing many smaller institutions to consider drastic measures. Some have already reduced opening hours, cut staff or postponed exhibitions. Collaboration can ease this burden by sharing staff expertise, co-hosting events or creating joint marketing campaigns that attract larger audiences than any one museum could achieve alone. The Art Fund’s collection-sharing initiative is one example, but across the country there are smaller, less publicised partnerships forming all the time through regional consortia, local networks or informal arrangements between neighbouring institutions.
There are also reputational advantages to collaboration. When museums are seen to be working together, they project an image of unity and purpose. This is particularly valuable in the current political climate, where public spending is scrutinised and cultural organisations are asked to demonstrate social value. A collaborative project can show how museums contribute to education, tourism, community cohesion and wellbeing all at once. By telling these stories collectively, museums are able to demonstrate an impact that is far greater than the sum of its parts.
The military museum sector offers a useful case study. These institutions often hold specialist collections that appeal to niche audiences. On their own they may struggle to attract repeat visits or broad support, but when they collaborate across the services, or with social history and local museums, they can present narratives that resonate more widely. Joint exhibitions, shared learning resources and combined outreach programmes all help to place military history in its broader cultural context. This enriches public understanding and ensures these museums remain relevant to a changing audience.
Of course, collaboration is not without its difficulties. Questions arise over ownership, branding, and the distribution of costs and benefits. Institutions with larger collections or stronger financial positions may worry about carrying the weight of smaller partners. Audiences may be loyal to their local museum and less enthusiastic about joint ventures that take resources elsewhere. These concerns are valid, but they can be addressed with careful planning, transparency and a commitment to shared outcomes. The evidence from recent initiatives suggests that audiences respond positively to partnerships, particularly when they result in access to items they would otherwise never see.
What emerges from all this is a clear picture of a sector at a crossroads. Museums can either continue to compete in a shrinking marketplace, risking decline and closure, or they can choose collaboration as a deliberate strategy. By pooling resources, sharing collections and working collectively, they stand a far greater chance of surviving the current financial storm. More than that, they can redefine themselves as part of a national and international network that exists to safeguard heritage for everyone. Collaboration is not an admission of weakness. It is a demonstration of ambition and a recognition that the stories held in museums belong to us all. In times of scarcity, the impulse to protect what is ours can be strong. Yet heritage is at its most powerful when it is shared. Museums that embrace collaboration will not only safeguard their futures but also strengthen their role in the communities they serve.
Sources
MA Members Survey shows huge financial pressure on museum sector
https://www.museumsassociation.org/campaigns/advocacy/members-survey-2024-25
Three in five small UK museums and galleries fear closure amid declining revenue, new research suggests (21-Feb-25)
Museums can now apply for £20 million of funding to invest in their future (09-Apr-25)
The Museum Renewal Fund: supporting museums through challenging times (09-Apr-25)
https://www.artscouncil.org.uk/blog/museum-renewal-fund-supporting-museums-through-challenging-times
The Museum Renewal Fund: supporting museums through challenging times (09-Apr-25)
https://ifacca.org/news/2025/04/09/the-museum-renewal-fund-supporting-museums-through
Art Fund to launch £5m project for UK museums to share their collections (07-May-25)
https://www.theguardian.com/culture/2025/may/07/art-fund-project-uk-museums-share-collections
Research highlights challenges of attracting schools to museums (13-May-25)
Time Odyssey