During the last two decades, art institutions have developed as centers of soft power. The book "Global Trends in Museum Diplomacy: Post Guggenheim Developments,” uses three internationally known museums as case studies to explore the complex relations held between these and how governments have evolved to promote museum-based corporate enterprises and global franchises.

Cultural institutions often do not represent the increasing diversity of their country’s populations. Introducing the format of intercultural networking to their staff as a constant working method can help organisations to become more accessible and serve diverse communities better.

A growing awareness of the cultural effects of imperialism, and its political dimension, prompts a revision of the approach to cultural management from a decolonial perspective. The need to recover perspectives from the global South is evident in the debate on how to enable the transformations that this approach calls for. This book presents the state of the art of South American cultural management by practitioners and researchers whose work is generally limited to the Spanish-speaking world.

First thoughts on European culture in and from Ukraine after everything changed on 24 February 2022. Despite the unimaginable situations on the ground, five of our Ukrainian friends and colleagues proofread this text overnight. We owe them a great debt of gratitude and our thoughts are with them.

This article presents and briefly analyses three recent stories from three different regional contexts in Europe that demonstrate the positive impact of innovating connections with the audience. It discusses the values of hybrid approaches to arts and culture marketing, and the benefit of resilient practices of co-creation and cross-sectoral collaboration.

Cultural participation is repeatedly demanded by European cultural institutions. In the implementation, however, not all citizens are considered equally. Hence, it is about time for a reformulation and a rethinking.

Since the pandemic, the topic of "health" has received extremely heightened attention in the arts and culture sector. In addition to hygiene measures, cultural institutions can also help contain the pandemic by supporting vaccination campaigns, as examples from various museums in Brazil show.

Museums in the Arab World - holding a significant collection of the world’s cultural heritage - can reconfigure themselves as virtual platforms for their digitized artefacts and offer discussion rooms, workshops for assimilating new technologies, and spaces for intensifying regional cooperation. They would be spaces for a participatory discourse in societies under stress. To become such a "place for change,” museums must rethink their own roles, self-understandings, and capabilities. However, why museums have so far been prevented from assuming this role is not (only) due to technologies and funding.

Arts and cultural education at school can not only turn students into later regular adult visitors, but also inspire them to become arts or cultural managers. The example of China shows why theatres should invest more effort in such offerings to increase the attractiveness of arts management careers and prepare future arts managers.

There are various points of contact between arts, culture and health - not only in the course of the pandemic months. This issue of the Arts Management Quarterly shows what these are and what they mean for arts management.

Cultural institutions and initiatives are implementing participative formats for quite some years. But still, cultural policies in Europe focus on participation rather rarely both regarding their own decision-making processes as well as the institutions they support.

The pandemic has brought a lot of challenges to trainings and programs dedicated to the organization of culture. An experience from Brazil shows how such programs can adapt to their theoretical and practical character to digital formats.

Like society, the arts ecosystem is in a state of constant evolution. The book "Arts Leadership in Contemporary Contexts” underlines how arts leadership moves alongside these evolutions and is indispensable to every organization.

Studying and working in Germany for an extensive period of time gave Nicole Vasconi the space and opportunity to reflect on the U.S. arts and cultural sector - especially compared to other models and experiences of arts management - to better see its various positive and negative aspects from a wider perspective and derive from this experience better decisions for her professional future.

The professionals and companies of the culture and creative industries (CCIs) are important catalysts for development both for classical cultural institutions and for broad sections of the economy and society. A new study shows what the CCIs in Central and Northern European countries need to flourish.

Art and culture like to see themselves as representatives of social causes. But the pandemic has turned their solidarity towards themselves. Does this undermine their often proclaimed social relevance more than it helps them?

Before the pandemic, it did not occur to many arts and cultural institutions that they could - or even had to - generate revenue online. This has rapidly changed. What can organizations learn from the experiences of the last months?

In times of the pandemic, many arts and cultural institutions and professionals may find it difficult to think of others first. This issue of Arts Management Quarterly shows that it can be extraordinarily rewarding for them to commit themselves to serving local communities, now and in the long term.

Artistic places that distinguished themselves by their independence now do not only face precarity, but permanent closure. Nonetheless, independent places are essential for the artistic world and for developing new artistic expressions. Therefore, it is of highest interest to understand how these places are doing, in the face of the pandemic.