Photos and Q&A by Domenica Bucalo
1) How old are you?
33
2) What did you want to be when you were a child?
I loved playing pretend jobs—doctor, lawyer, President of Italy. I must have imagined at least fifty different careers before I was ten.
3) What has been an influential experience in your life?
My first trip to Paris when I was around nine. It made me realize the world was much larger than I had thought.
4) The Frick Collection has recently reopened after renovating its historic building and garden. What are the highlights of the improvements?
The renovation has made the building feel more like its true self. We improved the flow of movement, enhanced the lighting, restored hidden views and original settings, and—most importantly—opened the second floor, where the family lived, bringing the collection back to its domestic scale, which is at the heart of the Frick. Visitors can now walk through galleries that transport them back in time, while modern infrastructure works quietly in the background. In short, everything looks beautifully unchanged because so much has actually changed. As in The Leopard, “If we want everything to stay the same, everything must change.” We also added a new cafe, auditorium, conservation space, and entrance hall.
5) The sculpture Diana The Huntress by Jean-Antoine Houdon remained in place in the Portico Gallery during the renovation, crated for protection. The Goddess of the Hunt overlooks the Fifth Avenue Garden and Central Park. The piece is a technical marvel, made from terracotta and perfectly balanced. What was involved in preserving it?
Terracotta is wonderful—until you need to move it. Diana is a complex sculpture: hollow, delicately shaped over an iron frame, perfectly balanced, and placed in a narrow portico facing Fifth Avenue. She is extremely fragile. Surprisingly, leaving her in place was the safest choice. Our teams built a protective barrier of sandbags around her, allowing work to continue without causing even the slightest vibration. For extra caution, we placed a vibration monitor on her head and checked on her regularly.
6) How would you describe the new visitor experience?
It feels both more spacious and more intimate.
7) One of the biggest changes is opening the second floor as gallery space. How did you approach reorganizing and arranging the artworks?
The goal was to make sure the upstairs and downstairs felt connected. We balanced the scale and blended the elegant style of Elsie de Wolfe’s upstairs design with Sir Charles Allom’s grand downstairs, letting each keep its character while creating a cohesive experience. We tried to keep the downstairs as unchanged as possible, and we worked to recreate the unique Frick atmosphere upstairs, even after a century.
8) Helen Clay Frick, the founder’s daughter, was ahead of her time. Her vision as an art collector and philanthropist greatly shaped the collection. Do you see her as a trailblazer in her approach to traveling and art research?
Absolutely. Helen traveled extensively, researched passionately, and formed her own opinions—often several of them.She emerged at a time when women were hardly encouraged to do so—and “trailblazer” seems too gentle a word; she was a true force. Most importantly, her vision for the Frick Art Reference Library and its groundbreaking photographic collections transformed art-historical research in the United States and shaped the museum’s own evolution. To give just one example of its significance: Allied forces consulted it during World War II to avoid bombing important European monuments.
How did she shape the institution?
She preserved the integrity of her father’s collection, expanded it with her own discerning eye, and established the scholarly standards that still define the Frick, giving it its intellectual foundation.
How do you approach mission-driven curating, and what do you hope for institutions like yours to stay connected and thrive?
Mission-driven curating starts with the object—curating means taking care—and that care naturally sparks curiosity. When objects remain central, they reveal their ability to hold meaning rather than having it forced upon them, inviting new voices and fresh perspectives, even with the most familiar works.
Looking ahead, I hope institutions continue to balance rigorous scholarship with genuine openness. When the object stays at the center and the doors remain open, museums don’t just connect with their communities—they grow alongside them.
What’s your next project?
I’m working on an exhibition of Sienese fifteenth-century bronzes—many of which will be seen in the United States for the first time. They cover the full spectrum of sculptural expression: from jewel-like, perfectly finished pieces to bronzes so atmospheric they’ve been mistaken for works by Leonardo or even Medardo Rosso. Yet they’re often viewed through the dominant lens of Florence. So this project is also about forging—pun intended—an art history for the so-called peripheries, letting Siena’s voice speak for itself.
Your favorite place in New York?
Of course I won’t tell you—it’s already far too crowded for my liking.
Would you agree that a dance floor is never just a dance floor?
As the son of a psychoanalyst, I naturally see intrigue where others see parquet. But lately, I’ve come to appreciate that sometimes things are exactly what they appear to be. There’s a great story about Hal Prince hearing the early score for Cats and asking Andrew Lloyd Webber with growing concern, “Am I missing something? Queen Victoria is the main cat, Disraeli and Gladstone are other cats, and then there are the poor cats—is this an allegory?” Lloyd Webber reportedly paused painfully before saying, “Hal… it’s just cats.” And they never spoke of it again.
Will you ever leave New York, and if so, where would you go?
I threaten to leave all the time, but the city never takes me seriously.
Giulio Dalvit and Domenica Bucalo in conversation, November 2025, New York.
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