manager, sometimes it's a receptionist", she said later. "[I]t's about curators making sure their labels are legible to their peers." After fending off a 2000 effort by the Art Gallery of New South Wales to annex the MCA, McGregor began developing plans in 2002 for an extension to the museum. Two years later, developers sought to get the museum to agree to move off the Quay in order to build a luxury hotel on the site. In 2005, the museum's permanent collection was moved to storage offsite to create more exhibit space. The sixfold increase in annual visitation that ensued made problems with the museum's aging physical plant more apparent. "The elevators were well past their natural life, the stair circulation was not appropriate and there was no infrastructure to deal with disabled people", recalled Simon Mordant, a Sydney investment banker who later chaired the MCA board. "We started to burst at the seams." Some state officials, hoping to redevelop the site more commercially, urged the museum to move and tried to direct it to other locations, but Mordant and the museum management insisted on remaining, finding the current site to be a unique asset. 2010–2012: Addition In 2010 the museum closed for its long-desired extensions. They were built to a design by Sydney architect Sam Marshall, taking two forms: infill on the building's west facade, allowing shop space on the ground floor facing George Street, and the new Mordant Wing on the north. The latter was named after the board chairman and his wife, whose initial gift of $10 million, followed by a later $5 million, was the largest single financial contribution to it, allaying concerns that the recent financial crisis would make the addition impossible to finance. The federal, state and city governments combined for $27 million; private benefactors donated the remaining $7.5 million of the building's total $53 million cost. It was constructed in a Cubist architectural style, appearing as a series of overlapping white, black, and brown boxes that contrasts with the main building. A portion of the new wing opened with an exhibit of work by Rafael Lozano-Hemmer in December 2011; the remainder was opened the following March. The wing added in floor space, including a café, sculpture terrace and two harbour-side function venues, nearly doubling the museum's available exhibit space and allowing additional revenue to keep the museum financially independent (Approximately 70 per cent