Kris Lewis: Risk-Taker, Bridge-Builder, Museum Leader

Written by Elva Zhang, Visual Arts Administration, ‘25

Kris Lewis, a 2007 graduate of NYU’s Visual Arts Administration (VAA) program, is now the John S. Behnke Director of the Henry Art Gallery at the University of Washington—the first and only contemporary art museum in the state approaching its centennial in 2027. While many museum directors come from curatorial backgrounds, Kris carved her path through development. Her story is a testament to how openness, creativity, and a commitment to people can build an extraordinary career.

When Kris first started at VAA, she never imagined she’d become a fundraiser. “At first, it sounded like nothing more than schmoozing—and I couldn’t imagine doing that,” she recalls. But a required fundraising class changed her perspective. She discovered her love for talking about art and artists, and her skill for crafting compelling narratives. An internship in the Whitney Museum’s development department sealed it: she saw herself in the professionals around her, and she realized fundraising could be a powerful tool for making art possible.

After graduation, Kris landed an unexpected role working on Women in the City, a public art project in Los Angeles featuring artists Cindy Sherman, Barbara Kruger, Jenny Holzer, and Louise Lawler. She worked closely with the artists and studios, helped draft proposals, and negotiated installation sites. The experience affirmed her desire to support artists and bring art into the public sphere. But when the 2008 financial crisis hit, public art funding dried up. Unable to find a job in that sector, she briefly worked in a commercial gallery—yet she knew the for-profit world wasn’t for her.

Kris took a step back to reflect. She remembered her ambition, even as a student, to one day lead a museum. What are the stepping stones to becoming a museum director? she asked herself. Her answer: fundraising. Directors, after all, need to inspire people to support their vision. It was time to redirect.

She began as a grant writer and quickly took on the additional role of managing corporate relations at Otis College of Art and Design, Los Angeles’ first and oldest art school. After she moved to the Museum of Contemporary Art (MOCA) also in Los Angeles as Associate Director of Development. There, on a small team, she was deeply involved in everything from grant writing to programming, supporting emerging artists and exhibitions like Art in the Streets, MOCA’s first show on graffiti and street culture. The experience solidified her belief: being close to artists and serving the public was exactly where she wanted to be. “It was the most exciting time I’d ever seen at a museum,” she says. “Everybody in the city wanted to be a part of it.”

Next came a major shift—Kris joined the Los Angeles County Museum of Art (LACMA) as Director of Government and Foundation Relations. With a larger team and massive institutional resources, she oversaw fundraising for major exhibitions and initiatives. She enjoyed working in such a prominent institution, but over time, she felt boxed in. “LACMA is a big institution and employs roughly 600 employees. There is a person for every job and not much room for job growth within,” she says. Though she valued the scale and impact of the work, she began to feel limited in her role, with few avenues for creative growth. She was ready to spread her wings.

That desire for creative flexibility and collaboration brought her to the Fowler Museum at UCLA as the Director of Development. She was nervous at first—the museum was much smaller than LACMA, it lacked any glitz or glam, and its exhibitions were not with mainstream artists. Its collections comprised art from Africa, Asia, Oceana, and the Americas, both past and present. But the change proved to be exactly what Kris needed—she was finally able to craft her own strategic vision for the department while working closely with the director and leadership team. Rooted in research and education, the Fowler offered the human-centered environment Kris had been seeking. “This is a place to learn about the world, diverse peoples, cultures, and religions,” she says of the museum’s mission to uplift underrepresented cultures and communities. “Unexpectedly, it became my most favorite museum I have ever worked for.”

At the Fowler, Kris thrived. She worked closely with a staff of thirty-five. She had the autonomy to shape new programs and initiatives—like helping launch a contemporary council that programs with artists. She was involved in every aspect of the museum’s operations and helped build strong relationships campus-wide and in the city, increasing philanthropy significantly. 

With this breadth of experience, Kris was ready to fulfill her dream. In 2023, she became Executive Director of the Henry Art Gallery in Seattle. She leads an institution that reflects her values: artist-centered, bold and experimental, student-focused, and community-driven. Notably, under Kris’s leadership, the Henry continues its long-standing commitment to artist commissions, an essential part of the museum’s exhibition program. These commissions give artists the opportunity to explore new mediums, collaborate with university departments, and push the boundaries of their practice. One recent example is Kelly Akashi, a visual artist primarily known for her bronze and glass works, who was invited to create new work for her exhibition Encounters. Through the Henry’s support, Akashi partnered with the University’s ceramics department to work in clay for the first time, producing large-scale sculptures that engaged with geological time, material transformation, and the fragility of human existence—work she would not have been able to create otherwise.

The Henry also deeply supports students, hosting annual MFA exhibitions and ensuring accessibility throughout their time at the University of Washington. Under Kris’s leadership, the museum has held its commitment to equity and inclusion as a core priority. Just before our interview, she had wrapped up a meeting with the museum’s internal Equity Committee, where staff are encouraged to share personal needs and ideas as a way of expanding access to the arts. Kris believes caring for the internal workings of the museum is just as important as its public-facing efforts. “As a leader, I want to lean into my staff—to understand what makes them tick and what helps them thrive,” she says.

Kris is especially motivated by the challenges museums face today: political pressure, generational shifts, and the ongoing question of how to stay relevant while staying true. “How far do museums have to bend to stay relevant?” she asks. Her answer isn’t to chase trends—it’s to build bridges. Between institutions and audiences. Between artists and resources. Between history and possibility.

As the Henry approaches its 100th anniversary in 2027, Kris is leading with purpose. She’s committed to making the museum a place for everyone—especially artists and communities that are currently under threat. With the Henry now free to all visitors, Kris is determined to make sure everyone knows the museum is for them. “The Henry should be a place where everyone feels welcome,” she says. “Museums exist for all people—and it’s the staff, artists, campus, and community who bring it to life.” Through the work of VAA alumni like Kris Lewis, the arts become more meaningful, and the museum a vibrant hub for discovery.