inside the museum ($4 million, according to Macgregor.) and shops and other tenants on George Street, including the main offices of the Australian Olympic Committee, further supplemented the museum's self-generated income. In the years before the pandemic, the museum had been taking $22–23 million annually (it dropped to $20 million in 2020) About 22 per cent of that (around $5 million) came in the form of government grants; the 2020 JobSeeker grant added an additional $3.8 million in public money. Another 24 per cent was from private and corporate donors; the rest came from its various other sources of revenue, such as spending at the shops, admission fees to special exhibitions and earned interest. Most of the museum's revenue went to expenses, leaving a small surplus in 2018 but a half-million dollar deficit in 2019. A $4.5 million drop-in program expenses, combined with the JobSeeker grant, resulted in a $2.3 million surplus for 2020 (donations also increased tenfold, largely thanks to one individual). Macgregor said in early 2021 that the museum would still have a deficit the next year, and will need to find $800,000 in new funding every year "just to stand still". The museum's direction is set by its board, which has 11 members. Lorraine Tarabay is the current chair, having taken over from Simon Mordant in 2020 after joining the board four years previously. Director Suzanne Cotter, who took over from MacGregor in 2022, oversees a staff of 10 directors who have responsibility for all areas of the museum's administration, from curation to digital production. Collections What is now the museum's main collection emerged from the Power Collection in the original founding of the museum. The museum's initial acquisitions policy, based on the will of John Power, sought to acquire mainly international contemporary art whilst only "very occasionally" purchasing Australian art as complementary to its foreign collection. From 2002, the museum has shifted to increase its emphasis on Australian artists and currently holds over 4,500 works. The Ramingining Collection The Ramingining collection, purchased in 1984–1985, comprises more than 250 works by over 80 Yolŋu artists. The collection contains bark paintings, woven objects, sculpture and cultural objects such as spears and tools. The collection was originally acquired by the University of Sydney for the Power Collection following the 1984 exhibition Objects and Representations from Ramingining, curated by Djon Mundine for the Power Gallery of Contemporary Art. In 1996,