Rothko in Florence: selfies and visitors record, but the poor stay out

The exhibition Rothko a Firenze, held at the Palazzo Strozzi Foundation in Florence, concluded at the end of August with a record number of visitors. Over 301,000 individuals attended the show, while an additional 96,000 visited the adjacent San Marco Museum, which displayed works by the Beato Angelico. The exhibition’s organizers highlighted that 60 percent of attendees were Italians and foreign tourists who traveled specifically to Florence for the event, either for a day or with extended stays. Social media platforms played a major role in amplifying the exhibition's reach, with over six million people exposed to content shared by the foundation across Facebook, Instagram, TikTok, and LinkedIn. More than 470,000 interactions, likes, comments, and shares, were recorded during the run of the exhibition. During peak days, visitors faced long lines and crowded spaces, particularly around the large, colorful canvases that characterized Rothko’s work. These paintings, known for their intense emotional impact and layered compositions, became focal points for both admiration and unintentional humor. Some visitors, especially those eager to capture the moment, occupied prime viewing spots to take selfies, often with friends or family members. One visitor, a young woman from Asia, repeatedly attempted to photograph herself in front of a massive red panel, seeking the perfect shot. Despite the overwhelming popularity, only one of the more than 70 exhibited works was protected from reproduction, with staff monitoring its display. Rothko, whose abstract expressionist style sought to evoke deep emotional responses through color and form, would likely have been surprised by the extent to which his work has become a subject of digital engagement. His final years were marked by personal turmoil and artistic introspection, culminating in his suicide in February 1970. Yet today, his paintings are not only celebrated in academic circles but also transformed into backdrops for social media posts, often reduced to mere aesthetic elements rather than profound artistic statements. This shift reflects broader trends in how contemporary audiences engage with art, prioritizing visual appeal and shareability over deeper contemplation. A quote selected by the curators of the Palazzo Strozzi encapsulated this paradox. It referenced Rothko’s inspiration from Michelangelo’s frescoes in the Biblioteca Medicea Laurenziana, where he had previously worked on the iconic Cappella Interreligiosa in Houston. The quote emphasized Rothko’s desire to trap viewers within the confines of his artwork, creating an immersive experience that left little room for escape. This concept of confinement, both literal and metaphorical, stood in stark contrast to the open-ended nature of modern digital culture, where attention spans are fleeting and engagement is often superficial. The exhibition’s commercial and promotional success raises questions about the evolving role of public institutions in promoting cultural accessibility. While the event brought significant economic benefits to Florence, critics argue that it failed to address the persistent barriers that prevent marginalized communities from engaging with such high-profile exhibitions. The Palazzo Strozzi, though publicly funded, operates under private management, led by figures associated with corporate and political spheres. This dynamic has sparked debates about whether cultural institutions should prioritize inclusivity or continue to cater primarily to affluent and well-connected audiences. In Tuscany, absolute poverty affects approximately 5 percent of the population, slightly below the national average. However, relative poverty among children in Florence is significantly higher, with nearly 28 percent living in socioeconomically disadvantaged urban areas. These communities, lacking stable housing, employment, and educational opportunities, may struggle not just with basic survival but also with meaningful participation in cultural life. As the exhibition drew crowds eager to document their experiences, it became evident that access to such events remains uneven, reinforcing the gap between those who can afford to engage and those who are excluded due to financial constraints.