Tag Archive for: Affiliates

Five Questions With…Alexandra Lord

Headshot of Alexandra Lord
Courtesy of Alexandra Lord

One of the benefits of being a Smithsonian Affiliate is the access to Smithsonian scholarship and its scholars. In 2025 we are reviving our “Five Questions With…” series to introduce our Smithsonian Affiliate network to the incredible staff working hard for the “increase and diffusion of knowledge” at the Smithsonian.

In this post, we interviewed Alexandra Lord, chair of the Division of Medicine and Science at the Smithsonian’s National Museum of American History and asked her to share what inspires her about her work and how she hopes to connect with communities in 2025.

Tell us a little about yourself and how you got to the Smithsonian.
I became interested in the history of medicine even before I knew there was such a thing! As a kid, I loved books like The Secret Garden, Little Women, and the Little House books but I was really puzzled by all the references to diseases I had never heard of such as cholera, tuberculosis, and scarlet fever. In college and then in grad school, I opted to study how people in the past experienced illnesses and how physicians and nurses cared for patients before they understood how diseases spread.

After grad school I became the historian for the U.S. Public Health Service (2001). While working at the PHS, I became really interested in preservation—in part because the hospitals on Ellis Island, which are linked to the Public Health Service, were being renovated. And so, in 2008, I applied to become the Branch Chief for the National Historic Landmarks Program, the National Park Service’s premier preservation program. I loved working with local communities to preserve their historic and archaeological sites. But in 2015, after I had been at the Park Service for 7 years, the Smithsonian advertised for a historian to oversee their history of medicine and science collections. The opportunity to work with the Smithsonian’s amazing history of medicine collections made me realize how much I had missed the opportunity to focus on the history of medicine. I’ve been here ever since, and I have yet to grow tired of exploring our collections!

A rectangular box containing a package of Ramses rubber prophylactics from circa 1930-1950s.
Ramses Condom, 1930s. Julius Schmid worked in a sausage factory before deciding to begin marketing condoms. By the 1930s, his company, which produced these condoms, dominated the market and he was called “The Condom King.”

Why is your area of interest important?
In a time when we are very divided, one thing unites us: we all know what it’s like to be sick. But while being ill is one of the most universal human experiences, we rarely ever think about what it was like to be sick in the past—before vaccination, before antibiotics, and before we even understood how diseases spread. This may be because when we are sick, we tend to be too miserable to think about the past! But epidemics and diseases have shaped the outcomes of wars, immigration policies, politics, our workplaces and, much more importantly, our families. Today, we live in a world in which diseases are heavily controlled and contained so it’s easy to forget how diseases shaped the past. But, as we saw with the COVID-19 pandemic, diseases still pose a threat. Understanding how people responded to diseases and epidemics is key to understanding not only our past but also our present and future.

What inspires you, excites and challenges you about your job or department?
The National Museum of American History has over 100,000 objects related to the history of medicine and science. Our collections range from an 18th-century obstetrical kit to 19th-century patent medicines to 20th-century artificial hearts. Caring for, and adding to, this collection is an ongoing struggle. Like all museums, we don’t have enough storage space, so we think very carefully about what we are collecting—and we need to periodically review what we have collected. It’s a difficult challenge but an interesting one as it pushes us to explore and think deeply about the material culture around medicine and the people who have used these objects.

A decorated face shield. The clear mask is designed to look like a fish tank with brightly colored fish, sea plants and shells, and a boat with feet hanging off the edge on the crown of the mask.
Face Shield (COVID-19) Pamela Mossinghoff Tures, a glass artist in Virginia, designed and made this “Fish Tank” plastic shield face mask. She created the mask as part of a contest for the “best mask” at a conference she attended in Florida in May of 2021. Her “Fish Tank” mask, which she said reflects the confined nature of quarantines, won.

Tell us about something in your recent work you are particularly proud of and why.
During the first year of the COVID-19 pandemic, we asked people across the country to contact us and share their pandemic stories. We also asked them to tell us what they thought we should collect to document this story. We got a huge response (we are still receiving responses!). Many Affiliates worked with us, both in thinking about how we should collect and how we should tell this story. Working together with Affiliate museums enabled us to ensure that objects went to the best homes, whether that was the American History Museum or an Affiliate organization. We especially loved working with Affiliates on our Pandemic Perspectives virtual programming. These programs ranged from the light-hearted (“How to Look Good on a Zoom Call,” for example, highlighted historic make-up and personal care products) to the more serious (“Race and Place” which explored the yellow fever epidemic in Philadelphia in 1793). Our audience especially loved the program we did which highlighted how several Affiliate museums were collecting around the pandemic. We loved it, too, because we learned a lot about how museums were thinking about this work across the country.

A package of sanitary napkins from 1919-1920
Sphagnum Moss Mustrual Pad, c. 1920s. During World War I, nurses and physicians discovered that sphagnum moss was especially effective at absorbing blood. In the wake of the war, Sfag-Na-Kins began using sphagnum moss to create and market disposable menstrual pads. While Sfag-Na-Kins did not achieve market dominance, the idea of replacing cloth menstrual rags with disposable pads became widespread in the 20th century.

We are always looking to share people and resources with our Affiliate network, what would you like to share with them or what specifically would you love to talk about in a speaking program hosted by an Affiliate?
I love to share our collections and their stories. I’m especially interested in speaking to and hearing from audiences across the country about their experiences with the stories listed below:

  • Sex Education/Reproductive Health: Why has sex education been so controversial since its beginnings in the 1890s? How has the battle over birth control as well as the fight to contain sexually transmitted diseases shaped American culture and history?
  • Women’s Health: Why have issues related to women’s health been neglected? How have changing ideas about women shaped the practice of medicine?
  • Infectious Diseases/Vaccines: How do we experience infectious diseases differently from our ancestors? Why has vaccination been so controversial?
  • Collecting Around COVID-19: How will we tell the story of COVID-19? In 2020, the National Museum of American History issued a call to Americans to hear their stories about the pandemic. We are still collecting around this story, and we would love to engage in a discussion about this with Americans across the country.
  • Mourning Rituals: Why were the Victorians so obsessed with death? How did changing ideas about religion and science, along with new technologies, change how nineteenth-century Americans understood death?

Thank you to Alexandra for sharing a little about her work with us. As Smithsonian Secretary Lonnie G. Bunch III said in a recent Smithsonian magazine article, “One of the reasons I agreed to become Secretary years ago was because of my profound respect for the amazing work of my colleagues.” The Smithsonian “is a collection of amazing people who do work that sometimes is not understood, sometimes that is undervalued, but it’s work that as Secretary, I see as essential to a nation understanding itself.” We hope you enjoyed meeting one of these amazing people and hope you’ll stay tuned for more Five Questions With… interviews this year.

If you are a Smithsonian Affiliate interested in inviting Alexandra to your neighborhood this year, please fill out this Speaker Interest Form and an Affiliations team member will be in touch to discuss in more detail.

Smithsonian Insider: Fall 2024

Smithsonian Insider email banner

Welcome to the Fall 2024 edition of the Smithsonian Insider! Read about high-level Smithsonian news, Smithsonian strategic initiatives, and highlights from the work of Smithsonian scholars and experts in this issue.

SMITHSONIAN STRATEGIC INITIATIVES

The Smithsonian Campaign for Our Shared Future tells the compelling story of why the Smithsonian has inspired America for more than 175 years. In ways no other institution can, we bring together expertise, collections and research in art, history, science, culture and education to convene conversations on topics that affect us all.

Smithsonian launches its biggest fundraising campaign in its 178-year history—Smithsonian Campaign for Our Shared Future. The Smithsonian Campaign sets out four broad themes: Opening Pathways to New Knowledge, Powering Creativity and Innovation, Advancing Sustainability and Discovery, and Illuminating Our Nation’s Past. All Smithsonian museums and centers are participating, raising funds to support specific priorities. The campaign will also raise significant funds for several strategic goals spanning the entire Smithsonian.

SITES | Affiliations will continue making an impact through the creation of three endowments as part of the Smithsonian Campaign. More about the SITES | Affiliations campaign priorities here.

  • SITES | Affiliations Legacy Endowment
  • SITES | Affiliations Intern Endowment
  • SITES | Affiliations Director’s Endowment

SMITHSONIAN IN THE NEWS

Smithsonian-Gallup Study Uncovers Gaps in How US Science Standards Are Preparing Students To Meet Sustainability Challenges of the Future

Inspiring Tomorrow’s Earth Optimists Today: An afterschool club in partnership with the Smithsonian and the World Wildlife Fund aims to build environmental leadership skills through hands-on experiences and exposure to a wide range of “green” careers

Making field trips to museums memorable this school year (featuring Durham Museum + Smithsonian Education)

SMITHSONIAN STAFF UPDATES

Welcome to these new Smithsonian staff members:

  • José Roca, curator of Latin American and Latin Diasporic Art, Hirshhorn Museum and Sculpture Garden
  • Hwang Sun-woo, Korea Foundation Curator of Korean Art and Culture, National Museum of Asian Art
  • Nicole L. Angarella, Inspector General, Smithsonian Institution

OTHER ANNOUNCEMENTS

Smithsonian Insider logo

Look for this Smithsonian Insider icon in the Affiliate Collaborator and catch up on news coming from the Smithsonian. If you have any questions or would like to learn more about anything you see in one of these posts, please let us know.

Smithsonian Insider: Spring 2024

Smithsonian Insider email banner

You may remember receiving the Smithsonian Insider digital communication in your inbox twice per year, in addition to the Affiliate Collaborator newsletter. We are streamlining our communications and combining the publication of the Insider with the Collaborator. Instead, you’ll receive high-level Smithsonian news, Smithsonian strategic initiatives, and highlights from the work of Smithsonian scholars and experts in your regular Affiliate Collaborator newsletter. We hope this reduces the number of emails in your inbox while still bringing you opportunities and resources from the Smithsonian in a more concise digital communication.

SMITHSONIAN STRATEGIC INITIATIVES

The Human Remains Task Force, established in 2023, completed its work and submitted their recommendations to Secretary Bunch in January 2024. The thirteen-member task force was assembled to make policy recommendations to the Secretary concerning human remains in the custody of the Smithsonian. The full report is now published and available to the public. In sum, the task force recommends the Smithsonian develop a policy regarding the treatment and return of human remains in its care consistent with principles set forth in the report. Read the full report.

SMITHSONIAN IN THE NEWS

The Smithsonian’s National Air and Space Museum has announced the names and estimated opening timeline for the final 12 galleries to open as part of the renovation of its building in Washington, D.C.

World War I: The Birth of Military Aviation Gallery Rendering. Smithsonian Institution.

SMITHSONIAN STAFF UPDATES

Welcome to new Smithsonian leadership:

  • Elizabeth C. Babcock, director, Smithsonian American Women’s History Museum (effective June 3)
  • Sanchita Balachandran, director, Smithsonian’s Museum Conservation Institute (effective April 8)
  • Dalila Scruggs, Augusta Savage Curator of African American Art (effective April 22)
  • Deborah Rosenberg, executive editor, Smithsonian magazine
Smithsonian Insider logo

Look for this Smithsonian Insider icon in the Affiliate Collaborator and catch up on news coming from the Smithsonian. If you have any questions or would like to learn more about anything you see in one of these posts, please let us know.

Logo Lowdown: 2024 edition

Approved Smithsonian Affiliate sunburst logo with the word affiliate italicized beneath the word smithsonian all under the blue and yellow sunburst.

Did you know that the Smithsonian sunburst is one of the most widely recognized brands in the U.S., and our Affiliates are the only organizations authorized to use a special sunburst logo in their materials? It’s true!

As an exclusive benefit of being a Smithsonian Affiliate, your organization can use the Smithsonian Affiliate logo or taglines for marketing materials, brochures, and signs. It’s a great way to show your association with the Smithsonian to your visitors and stakeholders. So, as a refresher or a quick intro, here’s an overview of the logos you are approved to use, how to use them correctly, and a few other tips. This information is always accessible on our website on our Logos & Taglines page, and the Smithsonian Affiliations team is also always happy to chat with you if you have any questions.

What logos are approved to use?

There are two logos approved for Affiliate use:

  • Smithsonian Affiliate logo
  • Smithsonian Affiliate Membership Program logo (ONLY for those Affiliates participating in the membership benefit, however the same rules and guidelines apply)

The Smithsonian Affiliate logo can be used on marketing materials, websites, newsletters, brochures, and more. If you are considering the logo for any fundraising, donation, or giving material, please contact the Smithsonian Affiliations office first. Generally, the Smithsonian Affiliate logo may not be used on fundraising material, but please reach out to us to see if it may be an appropriate case.

The Smithsonian Affiliate logo has been updated to emphasize the Smithsonian connection. The word “Affiliate” is italicized in the lockup to indicate the association with the Institution. If the logo you are using does not have this lockup, please contact us to receive an updated logo package.

Where do I find the logos?

The Smithsonian Affiliate logo can be requested from the Smithsonian Affiliations office. Please contact your National Outreach Manager or email Affiliates@si.edu to obtain the logo package. All logo and/or tagline use must be reviewed and approved by the Affiliations office.

What are the approved taglines?

Example of the "A Smithsonian Affiliate" tagline on the Southern Museum logo.

Smithsonian Affiliates may choose to use one of two taglines if using the logo is not appropriate on your material. The taglines “In Association with the Smithsonian” or “A Smithsonian Affiliate” can be used as an alternative to the logo. Please note, if including the tagline in your own logo lockup, you must retain a version without a Smithsonian mention should your logo ever be used for any fundraising material.

May I use the logo and tagline together?

No. The logo and tagline are two separate marketing items for Affiliate use, they should not be used in the same visual lockup or sentence.

Are there any specific tips for Affiliates?

Screengrab of the Smithsonian Affiliate section of the Rockwell Museum's website.

Yes! Check out these tips and documents to help guide you in communicating about your Affiliation:

  1. Familiarize yourself with our Logo & Tagline Guidelines.
  2. Read these tips for communicating your Affiliation.
  3. Add information on your website in your “About Us” section to explain your connection with the Smithsonian. See The Rockwell Museum, Michigan State University Museum, and The Mayborn Museum for examples of large and small ways to include this on your website.
  4. Talk to your National Outreach Manager to discuss how you may be considering applying the logo or tagline to your material.
  5. Send us drafts! Not only do we love to see your material, you must receive approval from the Smithsonian Affiliations office prior to any use of the Smithsonian name and/or logos. Send your drafts to Elizabeth Fingar, Communications and Professional Development Manager- FingarE@si.edu.

What else should you keep in mind?

The smithsonian sunburst is black in this example of what NOT to do with the logo
  • Everything must be approved by the Affiliations office. Please do not use the logo or tagline without first checking with us. We have a very quick turnaround time for approvals and will work with you to meet your deadlines.
  • The Smithsonian is always Institution, never Institute.
  • The sunburst should never appear dark or clash with any other colors in your design.
  • The logo cannot be used as part of a sentence.
  • The logo cannot be altered in any way.

This may seem daunting, but your team at Smithsonian Affiliations will work with you! We are here to help you align your organization with the Smithsonian brand and show your audiences and stakeholders how you are connected to our network of Smithsonian collaborators. If you’d like a refresher, please contact us and we’ll be happy to schedule a call to talk about co-branding and other ways to collaborate to share the incredible work you are doing in your communities.

All Here: Accessibility and Diversity:Balancing Design, Content and Access in the Molina Family Latino Gallery

Many thanks to Eli Boldt, 2023 Smithsonian Leadership for Change intern, for this guest post. Boldt was one of several interns identifying and writing stories about underrepresented topics for Smithsonian Affiliations. This is one of two stories they completed this summer. 

A small, tactile display showing a scene from the Pueblo lands. One bronze, woman figurine is placing bread into a round, clay oven. Another is watching loaves of bread cool. To the bottom left is a button that prompts a user to push to smell bread.
One of the tactile displays in the exhibition which, when the silver button is pressed, releases an odor of bread baking. Photo by Eli Boldt.

The Molina Family Latino Gallery, which opened in June 2022, is a precursor to the National Museum of the American Latino. The museum, legislated by Congress in 2020, is still in development and currently has exhibition space at the Smithsonian’s National Museum of American History. The Molina Gallery is a taste of what the museum will be: it represents the many varied histories of the Latino experience in America and the way Latino culture and figures have impacted and shaped the United States.

The exhibition was developed using a design model called I.P.O.P., a framework for building a content strategy focusing on Ideas, People, Objects, and Physical experiences. This allows the content to be diversified across the exhibition. Some people connect more with objects, while others connect with pictures and stories of people. Some people benefit heavily from having physical experiences, which tactile objects help to do.

Making an exhibit accessible is a balancing of the many types of people who are coming into the space. To design with accessibility in mind means finding the sweet spot where information is available and accessible to the most amount of people.

Under the direction of Elizabeth Ziebarth, Access Smithsonian helped bring the gallery’s vision for inclusive design to fruition. Leading a small but mighty team—Ziebarth is both director of Access Smithsonian and head diversity officer at the Smithsonian—the staff strives “for consistent and integrated inclusive design that provides meaningful access” in all their work. Ziebarth identifies making a space accessible to the blind as the most challenging.

“My rule of thumb is that if I can make something accessible to people who are blind or have low vision, I could probably make everything else accessible. The most challenging part of the design is to take something that is visual and make it into something that can deliver the content and the experience to somebody who can’t see it,” Ziebarth said.

A black and white QR code that can be scanned for visual descriptions.
One of the QR codes that can be scanned for visual descriptions. Photo by Eli Boldt.

Ways the gallery took on the challenge was creating a shoreline, a perimeter of cases around the middle. People who use canes can tap their way through and follow the path. There are cues and raised tabs on the ground to identify where QR codes, which pull up audio narration, are located. The gallery makes use of tactiles to tell the story as well. Tactiles are objects that are meant to be touched and interacted with. The museum shows a clay figurine and invites visitors to touch. There is a button that releases the smell of bread, another that plays the sounds of Domino Park, Miami, and releases the smell of coffee. There are audio descriptions and closed captions on video content for deaf and hard-of-hearing visitors, and space for wheelchair users to have as much mobility as possible.

The accessibility of the gallery is not unique, but it also is not the standard. It was made possible because accessibility was a part of the conversation from the start. Access Smithsonian was able to make a substantial impact on the exhibit’s layout, design, and technology because the designers and curators asked questions about accessibility all throughout.

“There’s no way that we can be everywhere, and we rely on developing relationships, trust, and a great understanding with teams,” said Ashley Grady, senior program specialist at Access Smithsonian. “They hopefully have the knowledge to make a lot of decisions independently, but they know that we’re always here for that guidance and access to user/expert testing or the disability community.”

The gallery was designed by Museum Environments, an organization that designs and creates multicultural and sustainable exhibits. Mariano Desmarás, the creative director for Museum Environments, was eager to help make the gallery accessible. He noted that as a consultant and designer, he can make suggestions but to do what the gallery ended up accomplishing, the backing of the institution and its leaders is essential. Desmarás points to his own background of having undiagnosed ADHD as a child and his experience with dyslexia, as well as his father’s later-in-life vision impairment, as reasons why accessibility is so important to him.

“Everybody had some sort of connection that they could make to why it would be important to have an inclusively designed exhibition space. And so that made a difference,” Ziebarth said.

That lived experience of seeing the struggles of people with disabilities is often a motivator for making spaces accessible; it is why user/expert testing was vital to the creation of the gallery and its accessible features.

The Institute for Human Centered Design (IHCD) is a non-profit organization doing work with inclusive design. Their user/experts are people who, through their own lived experiences, have expertise. IHCD and Access Smithsonian brought user/experts into the gallery as it was being built.

A clay tactile figure of a boy, worn down by touching.
Another tactile element which has been worn down by visitors touching it. Photo by Eli Boldt.

A typical user/expert testing session, as described by Grady, would begin with her meeting the exhibit team to understand what questions needed to be answered in that specific session. This ensured the right people were there to help. If they needed to test assistive listening devices, people who were Deaf or hard of hearing were prioritized.

“While those things can be intersectional, it’s important to make sure we’ve got the right people that would benefit the most from whatever the equipment is or element is,” Grady said.

The sessions were conversational. They engaged more with contextual inquiry to see how people engaged with the content. The sessions often included Access Smithsonian as well as people working on the exhibit’s content and design. This allowed for questions to be asked and answered as real people experienced the content.

The sessions lasted anywhere from 90 minutes to 2 hours, Grady explained, but they could look different depending on what was being tested and how many people were brought in. Sometimes only one or two components were being tested, whereas other times the sessions would be a comprehensive walkthrough of the gallery. Of course, user/expert testing was halted during the pandemic, but the team pivoted the testing to Zoom and continued their work.

A tactile display representing Domino Park in Little Havana, Miami. A game of dominos set up in the middle, with a coffee pot that emits the smell of coffee to the bottom left. In the back, between two small pillars is a photo from Domino Park.
A tactile display representing Domino Park in Little Havana, Miami. Photo by Eli Boldt.

Through user testing, things changed. Many were small changes, of course, but even small changes helped make every component as accessible as it could be. Color contrasts were changed, the heights of QR codes adjusted and font size perfected. When they got into the space, the design team mapped out the floorplan with blue tape according to ADA standards only to realize that the turn radius was not enough for motorized wheelchairs.

Michelle Cook, an inclusive design specialist with Access Smithsonian, stressed that the minimum standards are just that: the minimum.

“That’s one of the things that has been historically a challenge for those of us in the design field — and advocates for accessible or inclusive design — has been convincing people that it’s better to do more than the minimum because it serves a more diverse audience,” Cook said.

And diversity is what the Molina Family Latino Gallery is trying to communicate. To show that populations you might not think about are vital to the history of the United States. Latino history is American history: our cultures are intertwined. And within that diversity is the intersection of accessibility. They are two ideas that exist within each other.

“There’s this fear that inclusion focuses on a particular population and that it’s reductive,” Desmarás said. “I actually think that if it’s done right, inclusion is additive. That you’re saying that we’re all here.”


Source list:

  • https://latino.si.edu/
    The website for the National Museum of the American Latino, a project currently in production. At the end of 2020, Former President Trump signed a bill for its creation. What was formerly the Smithsonian Latino Center became the National Museum of the American Latino.
  • https://latino.si.edu/support/molina-family-latino-gallery
    The website for the Molina Family Latino Gallery. The gallery is the precursor to the National Museum of the American Latino.
  • https://americanhistory.si.edu/
    The website for the National Museum of American History, where the Molina Family Latino Gallery lives.
  • https://latino.si.edu/lead-donors-molina-family
    The five children of Dr. C. David Molina collectively donated $10 million for the creation of the gallery.
  • https://access.si.edu/
    The website for Access Smithsonian. This organization was created in 1991 and works with museums to create meaningful access for everyone.
  • https://museumenvironments.com/
    Museum Environments is an organization that creates exhibits on large and small scales. They specialize in multicultural and bilingual exhibitions. For ¡Presente! they won the 2023 Smithsonian Award for Excellence in Exhibitions.
  • https://www.humancentereddesign.org/
    The Institute for Human Centered Design is an education and design non-profit organization focused on universal, inclusive and accessible design. They were a part of creating the Molina Family Gallery, including but not limited to user/expert sessions.
  • https://www.humancentereddesign.org/user-expert-lab
    User/experts have personal experience with disabilities or limitations and can provide expertise and advice for design. They were heavily involved in the creation of the Molina Family Latino Gallery.
  • https://www.ada.gov/law-and-regs/design-standards/
    The website for the Americans with Disabilities Act and the design standards. As noted by Smithsonian employees through the experience of creating an accessible exhibition, ADA standards do not cover newer devices and are often insufficient. Described as the bare minimum. 

2021 Affiliations Virtual Conference was a Huge Success!

Thank you to our Smithsonian and Affiliate speakers and attendees who participated in our 2021 Virtual Conference, October 26-28, and made it an extraordinary success! 2021 saw the highest-ever conference attendance in the history of the Affiliations National Conference, which is a testament to our conference program and the introduction of Affiliate Institutional registration, allowing even more Affiliate colleagues to attend this year.

“I greatly appreciated the virtual nature of this conference. I don’t think I would have been able to attend if it were in person. I found it interesting to hear from so many different museums. Thank you for making this conference accessible to museums with tight budgets!“

Smithsonian Affiliate attendee

Throughout three days and 30 sessions and workshops, Smithsonian, Affiliate, and guest speakers led thought-provoking sessions on collaboration opportunities, inequity in exhibition development, creating inclusive HR practices, engaging communities in civic action, best practices in exhibition writing, and more. A dynamic opening session centered youth advocates and their views on the future of the museum field alongside Ellen Stofan, Under Secretary for Science & Research, and Kevin Young, Director of the National Museum of African American History & Culture.

In addition to the sessions and workshops, the Smithsonian Resource Fair library provided Smithsonian and Affiliate colleagues a virtual booth where they could upload documents, videos, and other resources for conference attendees to download and share with their organizations. Registered attendees can access and download these resources on the Virtual Attendee Hub until January 20, 2022.

Screen grab of the virtual attendee hub
Registered attendees can download resources on the Virtual Attendee Hub

“Sensational conference! I even wrote to my directors to thank them for making this possible. The platform used for the virtual conference was the easiest and most sophisticated I’ve experienced. The presenters were super, and I learned so much. Kudos to moderators–well done with links provided to us in the chat as well as lots of good interaction. I loved the conference!”

Smithsonian Affiliate attendee

All Smithsonian and Affiliate colleagues, regardless of registration, are able to view selected recordings from the Virtual Conference on our Smithsonian Affiliations website or YouTube playlist. If you require transcripts or have any questions, please email us at affiliates@si.edu.

Mark your calendars for when we next meet for an Affiliations Conference, October 23-25, 2022!