The 20th-century philosopher Hans-Georg Gadamer considered the encounter between the viewer and a work of art to be a dynamic relationship. Meeting a work of art made in the past involves a reaction, an actual event, in the present. Coming across the same work of art later will set up another event, another reaction, in which the artwork will be, as it were, activated afresh by the intellect and emotions of the viewer. When we interpret a work of art, we are teasing out（梳理）its possible meanings in the moment；but those meanings will change, depending on the viewer and the time.

Extend this thought into the world of the museum and it becomes clear that these institutions are not simply about the past. They are, necessarily, about the present. Paintings and sculptures of all kinds become meaningful in the"now"of their being viewed and considered. They shape us as we dig out new depths from them.

In a more purely functional manner, museums are increasingly embracing their capacity to be actors in the present worlds of their communities-rather than simply repositories（存储库）of things of the past, and gatherers and protectors of collective memories.

An example is Derby's Museum of Making, which both respects the city's history of manufacturing and aims to develop skills and inspire new acts of creativity. That in itself is nothing new, of course:part of the purpose of the Victoria and Albert Museum in London was to encourage innovation in design and manufacturing. But the Museum of Making takes things a step further-hosting, for example, sessions for teachers and educators on creating environments conducive to creativity, and"maker challenges"for teenagers. In so doing, it bridges the gap between museum and educational institution.

It is a welcome change. Museums, often in the teeth of terrible loss of income thanks to COVID-19 closures, are increasingly becoming ethical actors, as heavily invested in conversations about the kind of places communities want to be as what they once were. It should go without saying that they need to be properly supported to do this, by the government and local authorities. As the effects of COVID-19 continue to bite, the work of reimagining museums and communities is more important than ever.

When Leone Meyer discovered in 2012 that a painting Nazis had stolen from her father was in the collection of an American museum, her first response was to demand its return.

But Ms. Meyer, who is 80 in Paris, and the Fred Jones Jr. Museum of Art at the University of Oklahoma, struck an agreement in 2016: The 1886 painting, Shepherdess Bringing In Sheep, would be displayed at a museum in France for five years, and then would rotate (轮转) every three years between the university and one or more French institutions of Ms. Mever's choosing.

In 2018, Ms. Meyer, tried to donate it to the Musee d'Orsay, where it has been on display since 2017, for its permanent collection. But the museum refused, telling Ms. Mever it did not want to assume the cost and risk of transporting the painting to America every three years, which would have been required under the terms of the settlement. Any other French institution she offered it to would probably do the same. Ms. Meyer is now seeking to prevent it from being displayed at the

University of Oklahoma, where it is scheduled to return in July. She has also filed a lawsuit in France seeking permanent ownership,

But the university disagrees that the French museum's refusal to accept the work is grounds for making the original deal have no legal effect. Ms. Meyer" now seeks to break" a settlement that "was a first-of-its-kind U. S. -France international art sharing agreement," according to the university.

The university has acknowledged that the painting was stolen by the Nazis from Ms. Meyer's father, but said in the previous court hearings that it did not want to return the work because of procedural rules and other laws. It also produced evidence that the previous owners, the Weitzenhoffer family, who donated it to the university in 2000, having bought it at a New York gallery, had acted in good faith.

Events from Cornell University

Movies on the Arts Quad (MOTAQ)

MOTAQ is an in-person event series on Thursdays at the start of the fall semester for a month. We are opening seating at 7:30 p.m., with the film starting at 8:00 p.m. Bring your warm clothes and blankets, for it sometimes gets cold out. MOTAQ is brought to you by Cornell University Class Councils, CU Tonight, Campus Activities, and Cornell Cinema, Follow @cornellactivities on Instagram.

ClubFest

In its 19th year, ClubFest continues as a celebration of Cornell's amazing student groups demonstrating their activities and promoting the admission of new members. We are also looking for performance groups at ClubFest. ClubFest for the Spring semester will take place this Sunday in Barton Hall. ClubFest is an opportunity for Cornellians to connect with clubs and organizations. Contact us at student union@cornell.edu with any ClubFest questions.

Slope Day

The Slope Day Programming Board is excited to announce Slope Day this year. Join us on this Saturday for performances throughout the day. There is a long history of the spring-time gathering. While this event has taken many shapes over the past century, one common goal never changes: celebration. It has been a long time since we've had a live band headlining the Slope Day festival, and the band COIN is sure to be a hit. On Slope Day, approximately 500 volunteers are needed. Contact Volunteer Director Riya Agarwal@hotmail.com to apply.

Senior Days

We invite graduating undergraduate students to celebrate their achievements during Senior Days from Monday to Friday. Senior Days offers opportunities for seniors to connect through free and ticketed on and off campus events. There are exciting events like Bingo Night, Bowling at Helen Newman and Chimes Concerts&Clocktower Tours. Contact us at seniordays@cornell.edu.