The Government has not made any such assessment. This is a matter for the parties involved.

The Strategic Review of DCMS-sponsored museums published in November estimates that there are 99 million objects in the collections of the museums and galleries funded directly by DCMS. The Mendoza Review: an independent review of museums in England published in November also cited research suggesting that there are 200 million objects in museum collections across England and Wales, although not all of these museums are in receipt of public funding. DCMS does not hold breakdowns of these figures, including distinguishing between art and other types of holdings.

It is not possible to provide a static figure on collections held in storage, which varies according to the programmed exhibitions and per institution. In some museums a relatively small amount of the collection is on permanent display but is accessible for research or in open stores available on request. For example, the V&A estimates that 25% of the collection is on display at any one time, whereas the National Gallery has approximately 60% on display, with 100% available online.

The UK’s public collections, both art and wider collections, are held on the basis of their cultural rather than financial value. Whilst values are sometimes sought for objects to support specific collections management purposes (e.g. acquisitions or loans) there is no requirement on museums to value their collections in totality.

Through the work that they do, the national museums are committed to ensuring as many people as possible across the country have access to their collections. There are many examples of best practice, including long-term loans to historic houses, skill-sharing programmes, some Subject Specialist Networks, and spotlight loans and partnership galleries - the V&A, for example, has over 1,700 items out on long term loan to partnership organisations and for them, the opening last autumn of the V&A Shenzhen, and this coming autumn of V&A Dundee, are further examples of their reach including on a global scale. Many others have partnerships with other organisations across the globe, including for touring their exhibitions.

The Mendoza Review of Museums in England today, published in November, found that this work is not always understood and could be extended further. It recommended that the work done on this front should be more strategic. Supported by DCMS, the nationals will, through the National Museums Directors’ Council (NMDC), work ACE and HLF in building a new ‘partnership framework’ to extend their reach throughout England in a more strategic way. This will look at museum and audience need and will cover areas that include: collections management, learning, working with audiences, digital, international, and commercial. This partnership framework will be in place by September.

The Strategic Review of DCMS-sponsored museums published in November estimates that there are 99 million objects in the collections of the museums and galleries funded directly by DCMS. The Mendoza Review: an independent review of museums in England published in November also cited research suggesting that there are 200 million objects in museum collections across England and Wales, although not all of these museums are in receipt of public funding. DCMS does not hold breakdowns of these figures, including distinguishing between art and other types of holdings.

It is not possible to provide a static figure on collections held in storage, which varies according to the programmed exhibitions and per institution. In some museums a relatively small amount of the collection is on permanent display but is accessible for research or in open stores available on request. For example, the V&A estimates that 25% of the collection is on display at any one time, whereas the National Gallery has approximately 60% on display, with 100% available online.

The UK’s public collections, both art and wider collections, are held on the basis of their cultural rather than financial value. Whilst values are sometimes sought for objects to support specific collections management purposes (e.g. acquisitions or loans) there is no requirement on museums to value their collections in totality.

Through the work that they do, the national museums are committed to ensuring as many people as possible across the country have access to their collections. There are many examples of best practice, including long-term loans to historic houses, skill-sharing programmes, some Subject Specialist Networks, and spotlight loans and partnership galleries - the V&A, for example, has over 1,700 items out on long term loan to partnership organisations and for them, the opening last autumn of the V&A Shenzhen, and this coming autumn of V&A Dundee, are further examples of their reach including on a global scale. Many others have partnerships with other organisations across the globe, including for touring their exhibitions.

The Mendoza Review of Museums in England today, published in November, found that this work is not always understood and could be extended further. It recommended that the work done on this front should be more strategic. Supported by DCMS, the nationals will, through the National Museums Directors’ Council (NMDC), work ACE and HLF in building a new ‘partnership framework’ to extend their reach throughout England in a more strategic way. This will look at museum and audience need and will cover areas that include: collections management, learning, working with audiences, digital, international, and commercial. This partnership framework will be in place by September.

The Strategic Review of DCMS-sponsored museums published in November estimates that there are 99 million objects in the collections of the museums and galleries funded directly by DCMS. The Mendoza Review: an independent review of museums in England published in November also cited research suggesting that there are 200 million objects in museum collections across England and Wales, although not all of these museums are in receipt of public funding. DCMS does not hold breakdowns of these figures, including distinguishing between art and other types of holdings.

It is not possible to provide a static figure on collections held in storage, which varies according to the programmed exhibitions and per institution. In some museums a relatively small amount of the collection is on permanent display but is accessible for research or in open stores available on request. For example, the V&A estimates that 25% of the collection is on display at any one time, whereas the National Gallery has approximately 60% on display, with 100% available online.

The UK’s public collections, both art and wider collections, are held on the basis of their cultural rather than financial value. Whilst values are sometimes sought for objects to support specific collections management purposes (e.g. acquisitions or loans) there is no requirement on museums to value their collections in totality.

Through the work that they do, the national museums are committed to ensuring as many people as possible across the country have access to their collections. There are many examples of best practice, including long-term loans to historic houses, skill-sharing programmes, some Subject Specialist Networks, and spotlight loans and partnership galleries - the V&A, for example, has over 1,700 items out on long term loan to partnership organisations and for them, the opening last autumn of the V&A Shenzhen, and this coming autumn of V&A Dundee, are further examples of their reach including on a global scale. Many others have partnerships with other organisations across the globe, including for touring their exhibitions.

The Mendoza Review of Museums in England today, published in November, found that this work is not always understood and could be extended further. It recommended that the work done on this front should be more strategic. Supported by DCMS, the nationals will, through the National Museums Directors’ Council (NMDC), work ACE and HLF in building a new ‘partnership framework’ to extend their reach throughout England in a more strategic way. This will look at museum and audience need and will cover areas that include: collections management, learning, working with audiences, digital, international, and commercial. This partnership framework will be in place by September.