There is "Art After Dark" events once a month in N.Y. Guggenheim Museum.

From this standpoint, the comparatively high (though also diminishing) social prestige of the arts amongst educated and materially well-off individuals is, in a sense, determined only by inertia and vanishing traditions.

Many studies show that, from a sociological viewpoint, the critical factor that determines an interest in art is one’s experience of art during childhood. Taking into account that the situation in the educational sector has not changed—and it’s hard to believe that the children of the aforementioned generation will acquire an art education at home—it’s not too difficult to arrive at a rather pessimistic vision of the future.

Yet in America, and particularly in New York, nobody gets too carried away with pessimism. If there’s a problem, then a solution is sought—most often at the level of individual initiative, without waiting for either a messiah or government support. The boards at art institutions are comprised of individuals who have achieved success in business, science, and other sectors, and whose ability to act, wide range of knowledge, and available financial resources sometimes allow them to perform “miraculous things.” And so, in recent years, art institutions have invested a particularly large amount of work in attracting audiences and development activities. The activities currently recognized as the most successful are related to educational programs, event marketing, and mastering the possibilities offered by new media.

There is no longer any question about the necessity for educational programs. Every even remotely serious institution will have a series of various educational activities; many of them will have separate educational centers, and the size of their space sometimes exceeds that of an average school. For example, one of the most significant contributions following the renovation of New York’s Museum of Modern Art (MoMA) was the Lewis B. and Dorothy Cullman Education and Research Building, unveiled in 2006, which occupies almost six thousands square meters on eight floors right in the heart of Manhattan. In terms of audiences, particular attention is paid to children, young people, and families, who often fill up gallery rooms at museums to the very brim.

The goals of the programs tend to differ, but at their very foundation all of these educational activities are directed toward listening and looking deeply at works of art.