gallery for its other works. In 2005, the museum sold two paintings by Marc Chagall and Auguste Renoir at Sotheby's. In 2011, it auctioned two Picassos (Sur l'impériale traversant la Seine (1901) and Verre et pipe (1919)), Henri Matisse's Femme au fauteuil (1919), and Georges Braque's Nature morte à la guitare (rideaux rouge) (1938) at Christie's in London. Directors William M.R. French (1885–1914) Newton Carpenter (1914–1916) George Eggers (1918–1921) Robert Harshe (1921–1938) Daniel Catton Rich (1938–1958) Allen McNab (1956–1965) Charles Cunningham (1965–1972) E. Laurence Chalmers (1972–1986) James N. Wood (1980–2004) James Cuno (2004–2011) Douglas Druick (2011–2016) James Rondeau (2016–present) Controversy Management of investments dispute In 2002, the Art Institute of Chicago filed suit alleging fraud by a small Dallas firm called Integral Investment Management, along with related parties. The museum, which put $43 million of its endowment into funds run by the defendants, claimed that it faced losses of up to 90% on the investments after they soured. Construction disputes In 2010, the year after the opening of its massive Modern Wing, the Art Institute of Chicago sued the engineering firm Ove Arup for $10 million over what it said were flaws in the concrete floors and air-circulation systems. The suit was settled out of court. Docent program diversity dispute In 2021, the Art Institute ended its unpaid volunteer docents program to move to a paid model. The Chicago Tribune editorial page criticized the Institute's letter announcing the change and the move to a new model, arguing that "[o]nce you cut through the blather, the letter basically said the museum had looked critically at its corps of docents, a group dominated by mostly (but not entirely) white, retired women with some time to spare, and found them wanting as a demographic." The institute's director, Robert M. Levy, responded in a Tribune op-ed supporting the change, and described the Tribune's editorial as having "numerous inaccuracies and mischaracterizations", noted that the docent program had already been largely on pause for the past 15 months due to the COVID pandemic, and argued that the decision was not about anyone's identity, it was in keeping with changing modern museum practices around the world. Following a volunteerism surge in the late 1940s, the program had been created in 1961 to revitalize and expand "programming for children." Among other matters, since 2014 the program had been trying to attract a more diverse socioeconomic perspective set of