Located on the south bank of the River Thames in London, Tate Modern faces St Paul’s Cathedral across the water and is connected by the Millennium Bridge. Since opening in 2000, it has remained one of the most popular museums of modern and contemporary art in the world.

However, Morris has expressed concern about the composition of Tate Modern’s audience and believes that change is urgently needed. Statistics show that 70% of its visitors have received higher education, 16% have a professional background in art, 53% are international visitors, 18% come from Black and minority ethnic backgrounds, family visitors account for only 10%, young people make up just 19%, and low-income groups represent only 6%.

Morris believes that although Tate Modern is an international museum, it has not established sufficiently strong connections with its local communities—an area she sees as crucial for the institution’s next phase of development. “People need to feel a sense of belonging in a comfortable space. Museums must be able to offer this, attracting more people to participate, do what they want to do, and form social connections. Social motivation will be one of the key driving forces,” she says.

“No museum should operate in isolation. Whether internationally or locally, we are all part of an important ecosystem, and we share core values.”

“Tate Exchange is truly fascinating. The space functions like a laboratory—everything within it is an experiment.”

“Rather than imposing a single narrative that restricts understanding, we aim to offer many different ways for people to engage with exhibitions.”

“I think this is a real issue. In my view, the proliferation of these museums is not necessarily matched by extraordinary collections or architectural ideas; one element driving museum development appears to be real estate.”

“The transition from private to public is not simply about bricks and mortar, but about vision and commitment—about how institutions serve the public and the relationship of trust between the private and the public. I am very interested to see which institutions will succeed in doing this.”

坐落于伦敦泰晤士河南岸的泰特现代美术馆，与圣保罗大教堂隔岸相望，并由千禧大桥连接起来，从2000年开放以来，它一直是世界上最受欢迎的现当代艺术博物馆。

然而，莫里斯仍然表示泰特现代美术馆的观众构成令她感到担忧，急需改变。在泰特现代美术馆的观众统计数据中显示，其中70%有接受过大学教育，16%具有专业的艺术背景，53％是国际访客，18%来自黑人和少数民族，家庭访客仅占据10%，年轻人只占比19%，而低收入群体只占到6%。

莫里斯认为泰特现代美术馆是一座国际博物馆，却并没有很好与社区建立联系，而这正是泰特现代美术馆在下一个阶段中需要进行更多尝试的地方。“人们需要在一个舒适的空间中找到归属感，美术馆需要能够满足这一点，吸引更多观众参与、做他们想做的事情，并产生相关社会联系。社会动机将是其中一个重要的驱动力。”

“任何博物馆都不应该单独行动。不论是国际上和地方上，我们都处于一个重要生态组织之中，并且拥有着共同的核心价值观。”

“Tate Exchange”真的非常有趣。这个项目空间就如同实验室般，一切都是一场实验。

“通过不强加一个特定的叙述来限制他们的理解，然后提供许多不同的方式来参与展览。”

“我认为这是一个真正的问题。在我看来，这些博物馆的扩散并不是为了匹配大量的奇妙藏品，或者去处理关于建筑的奇妙设想，博物馆发展的一个元素似乎是房地产。”

“我认为从私人到公众的转变不仅仅是关于砖块和灰泥，而是关于愿景和承诺、关于如何为公众服务、关于私人和公众之间的信任关系，所以我很期待会有哪些机构可以做到这一点。”