Observer Arts Interviews: Aspen Art Museum Director Nicola Lees

In 2017, it became universally accepted that artists were not just makers of aesthetic objects. They were wizards, shamans and, above all, thought leaders who could probably solve every problem facing us, whether personal or political. A few weeks ago, the Aspen Art Museum announced AIR, a ten-year initiative that seeks to make Colorado the home for this particular treatment of artists.

AIR is in its early stages but kicks off this July with the Artist-First Global Summit and promises “a path towards new futures with artists at the helm” by commissioning performances, artworks and research aimed at reshaping “the ways we relate to one another and address collective challenges.” Observer recently caught up with Nicola Lees, director of the Aspen Art Museum, to hear more about this ambitious initiative.

AIR feels like quite a new idea in museums—it strikes me as almost like TED talks with artists. Is that an accurate representation?

While AIR similarly foregrounds the communication of complex ideas to a broad audience, it is different in that its program of talks, commissions and performances draws upon a sublime landscape, leaning into art’s unique sensory capacities. Discourse and artmaking are hybridized within AIR’s new model. As such, AIR foregrounds the importance of process, experimentation and in-person experience. AIR is about establishing an environment where participants and the public can think differently while creating space for artists to take risks and engage in open-ended conversations that bridge the porous boundaries between disciplines.

AIR is, most importantly, a gathering of brilliant minds, and while most of the action will unfold on stage, what happens in the margins is equally significant. Set against the breathtaking backdrop of the mountains, AIR offers a rare kind of setting—one that encourages reflection, deep dialogue and unexpected connections. The conversations participants will have over breakfast, on a hike or while waiting for a program to begin mirror the informal, generative exchanges that shape the art world—through relationships, shared inquiries and moments of spontaneous insight. This intangible layer of knowledge-sharing is what makes AIR a vital addition to the landscape of contemporary cultural discourse, offering a space for intellectual risk-taking and artistic experimentation that resonates far beyond its immediate setting.

AIR is aimed at “investing in artists as leaders.” Could you unpack that idea? Who should follow artists?

Artists can help us redefine what leadership looks like at its core. Through their singular visions, artists have the potential to change the ways in which we see the world and relate to one another. They challenge assumptions, disrupt the status quo and reimagine what’s possible. In today’s rapidly evolving, increasingly unpredictable world, we need that kind of thinking more than ever. By investing in artists as leaders, AIR is recognizing their ability to shape not only cultural conversations but also the broader ways we understand and navigate society. Who should follow artists? I’d say anyone who’s interested in new ways of thinking—scientists, policymakers, entrepreneurs and anyone open to seeing the world through a different lens.

The initial iteration of AIR features some of my favorite artists: Paul Chan, Aria Dean, Álvaro Enrigue, Zoë Hitzig, Glenn Ligon, Maya Lin and Francis Kéré. How did you come to select these artists? What do they have in common?

Each works at the intersection of disciplines, whether that’s art and language, design and ecology, technology and philosophy, etc. They are all deeply engaged in questioning systems—be it history, identity, power structures or even the definition of life itself. What binds them together is not a single theme or aesthetic but a shared commitment to pushing the limits of how we think and create. We wanted AIR’s first year to reflect a broad spectrum of perspectives and approaches, and this group of artists brings that breadth in an extraordinary way.

The first slate of programming, “Life As No One Knows It,” takes its name from theoretical physicist and astrobiologist Sara Imari Walker’s book, which challenges conventional definitions of life. Can you explain that theme a little more?

Sara Imari Walker’s work asks us to rethink what we consider “life” and where its boundaries lie—especially in an age of artificial intelligence, synthetic biology and environmental change. We found that idea incredibly resonant with what artists do: expand our perception of reality and challenge established definitions. “Life As No One Knows It” is about looking at the world—and our place in it—in ways that move beyond the familiar. It’s about embracing the unknown as a generative space for art, thought and discovery.

AIR’s commissioned artwork has yet to be announced, but can you give me a sense of what it’ll be like? How will it differ from an artwork made for the museum?

Unlike a traditional museum exhibition, AIR’s commissions are site-responsive and immersive. The artists are invited to engage with Aspen itself—not just as a backdrop but as an integral part of the work. That could mean performances that take place in the mountains, installations that interact with the natural environment or projects that unfold over time, involving local communities. The works will be shaped by the unique context of Aspen, making them experiences that can’t be replicated elsewhere.

How should artists feel about artificial intelligence?

I’m not sure I am in a position to say how artists should feel about A.I., but I do think they are in a unique position to grapple with these developments because they understand creation as something deeply human yet constantly evolving. Some artists embrace A.I. as a tool; others critique it and many do both simultaneously. Like any new technology, its impact will depend on how we engage with it, and artists are among the best equipped to approach what is not yet known.

AIR takes its inspiration from the historic Aspen International Design Conference. What is it about Aspen that inspires such heady discussions? The altitude?

Maybe it’s the altitude! But more than that, it’s Aspen’s history and unique sense of place. Aspen has always been a destination where people come to think differently—it’s remote yet deeply connected, offering both solitude and dialogue. The Design Conference brought together radical thinkers like Susan Sontag, Robert Rauschenberg, John Cage and Gaetano Pesce, shaping conversations that still reverberate today. It was the first time Pesce came to America, and he would return many times, continuing to create work inspired by the landscape.

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It’s also where Maya Lin last visited in 1983—alongside Steve Jobs when he gave his seminal speech on technology and design. Lin will actually be back in Aspen for the first time this summer since that visit, now as part of AIR. Aspen’s spirit of innovation extends beyond art and design—it has also been a hub for technological experimentation. In the late 1970s, MIT researchers developed the Aspen Movie Map here, a groundbreaking precursor to virtual reality that allowed users to “walk” through Aspen’s streets digitally. This mix of avant-garde creativity and technological curiosity has long defined the town, making it a natural incubator for new ways of seeing and thinking.

That kind of intellectual and creative energy is woven into Aspen’s DNA. With AIR, we’re continuing that tradition but with artists at the center, exploring what the future might hold through the lens of contemporary art. By interacting with one another outside of a major city, I think artists are more inclined to forge connections where they otherwise might not. There’s a spirit of adventure inherent to this valley that encourages people to step outside of themselves. I look forward to seeing how that energetic shift will unfold across the field over the next decade as a result of AIR.