Henry Treide, noted, "People seem to feel that the Museum belongs to them and show that they are sincerely proud of it and its activities." Unfortunately, these people were mostly upper-crust, privileged, and white, a fact noted in a 1937 Carnegie Corporation report. "[Baltimore] cultural institutions (outside of the library and the schools) have appealed to, been intended for, and been supported by a pretty small minority... they need to be opened up, for the viewpoint of the entire community and its needs", it concluded. Local artists were feeling slighted, as well. “We, the living, resent being left to work in a vacuum of indifference and neglect while so much of the dead past is exhausted [by the BMA],” the president of the Artists’ Union of Baltimore complained to The Evening Sun in 1937. The writer of the letter was Morris Louis, whose work, decades later, would be in the BMA's contemporary collection. Treide responded with an extensive community outreach survey and, in 1939, presented the city's first exhibition of African-American art. The show drew over 12,000 visitors in two weeks. Many of the objects lent to the museum when it opened were eventually donated to it. Among the donors who have shaped the museum's collection are Blanche Adler, Dr. Claribel Cone and Etta Cone, Jacob Epstein, Edward J. Gallagher, Jr., John W. and Robert Garrett, Mary Frick Jacobs, Ryda H. and Robert H. Levi, Saidie Adler May, Dorothy McIlvain Scott, Elsie C. Woodward, and Alan and Janet Wurtzburger. The growing collection is reflected in the three major expansions: the Saidie A. May Wing in 1950, the Woodward Wing in 1956, and the Cone Wing in 1957. These additions were all designed by local architects Wrenn, Lewis and Jencks to harmonize with the original Pope Building. The museum's collection includes more than 95,000 objects, making it the largest art museum in Maryland. It is governed by a private board of trustees and receives funding from the City of Baltimore; Baltimore County, Carroll, and Howard counties; the State of Maryland; various corporations and foundations; federal agencies; individual Trustees; and many private citizens. The BMA welcomes more than 200,000 visitors annually. In addition to its art collection, it organizes and hosts traveling exhibitions and serves as a major arts center for the region through its programs. In June 2022, it was reported that AFSCME Council 67 would represent BMA workers, along with