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????隨便哪一天，從大都會(huì)藝術(shù)博物館（Metropolitan Museum of Art）展出的數(shù)十萬(wàn)件展品中僅僅挑一件,，仔細(xì)琢磨透,，恐怕都能助你取得博士學(xué)位。

????但是,，如果連游客都需要擁有藝術(shù)史學(xué)位才能在館內(nèi)玩得盡興的話,，情況就不妙了。沒(méi)有人比托馬斯?坎貝爾更了解這一點(diǎn),。2008年9月,，他由紡織品展館的館長(zhǎng)晉升為大都會(huì)藝術(shù)博物館的總掌門。然而,，就在他履新大約一周后,，美國(guó)經(jīng)濟(jì)陷入了一場(chǎng)嚴(yán)重的衰退之中。

????他剛一上任,，就立即凍結(jié)了博物館的招聘工作,，還裁掉了大約15%的員工，而此時(shí),，博物館的全部捐贈(zèng)基金價(jià)值下降了約四分之一,。為了保持大都會(huì)藝術(shù)博物館在文化界的地位,，坎貝爾認(rèn)為必須擴(kuò)大博物館吸引力。

????幸運(yùn)的是,，坎貝爾擁有不少非常有吸引力的展品,。他說(shuō)：“我認(rèn)為偉大的藝術(shù)品、甚至一些看起來(lái)極其樸素的展品,，也會(huì)讓人們穿越時(shí)空,，與其他時(shí)代的人們聯(lián)系起來(lái)。他們生活的時(shí)代或許迥然不同,，但卻往往懷著非常相似的希望和夢(mèng)想,。”坎貝爾的計(jì)劃是,，幫助我們每一個(gè)人找到這種聯(lián)系,，把它連接到此時(shí)此地。大都會(huì)藝術(shù)博物館的某些數(shù)據(jù)正在上揚(yáng),。去年,，該博物館的入館人數(shù)超過(guò)了560萬(wàn)人次，創(chuàng)下了歷史新高,。

????坎貝爾在接受《財(cái)富》雜志（Fortune）采訪時(shí)談到了織錦世界最初如何讓他驚嘆萬(wàn)分,；滿足館長(zhǎng)的需要與放養(yǎng)一群貓有何相似之處；這家偉大的博物館的某些部分為什么有點(diǎn)像通天塔（Tower of Babel）,。下文是經(jīng)過(guò)編輯的采訪實(shí)錄,。

????《財(cái)富》：最初是什么吸引你到大都會(huì)藝術(shù)博物館工作的？

????托馬斯?坎貝爾：從廣義上講,，是哲學(xué)上的原因,。我曾經(jīng)是一位研究織錦的學(xué)者，來(lái)大都會(huì)藝術(shù)博物館的原因是,，我認(rèn)為在這個(gè)地方,，我可以組織真正具備學(xué)術(shù)影響力的大型展覽，但與此同時(shí),，我還可以吸引到大量的普通觀眾,。

????我真的認(rèn)為，大都會(huì)藝術(shù)博物館是作為一家教育機(jī)構(gòu)建立起來(lái)的,。它不僅僅是一家美國(guó)博物館,，還是一所涵蓋了所有文化的博物館。在當(dāng)今世界,，這種理念依然具有重大的現(xiàn)實(shí)意義,。無(wú)論是開(kāi)羅還是埃及發(fā)生的動(dòng)蕩，它們都可以追溯到幾個(gè)世紀(jì)之前的問(wèn)題,，是它們?cè)诋?dāng)下的體現(xiàn),。知道嗎,？穿行在我們的美術(shù)館，或許可以找到其中一些問(wèn)題的答案,，從而以更寬廣的視野理解當(dāng)下,、過(guò)去過(guò)去與未來(lái)之間其聯(lián)系的復(fù)雜性。

????You could probably earn a Ph.D. working with just one piece out of the hundreds of thousands on display at the Metropolitan Museum of Art any given day.

????But it's bad business if visitors need an art history degree to have a good time at the museum. No one knows this better than Thomas Campbell, who moved up from his position as a textile curator to direct the museum in September 2008, about a week before the economy took a plunge.

????Right after he took the job, the Met froze hiring, laid off roughly 15% of its staff, and its total endowment funds dropped by about a quarter of its value. To maintain the Met's cultural relevance, Campbell believes he's going to have to broaden its appeal.

????Luckily, he says, he's got some very appealing material to work with. "I think great works of art, or even very just very humble objects, connect you through time and space with people who might have been living in very different times but often with very similar hopes and dreams." The plan is to help people, anyone really, draw those connections to the here and now. Some of the Met's numbers are looking up. Last year, it pulled a record attendance of over 5.6 million people.

????Campbell talks to Fortune about how he was first wowed by the world of tapestries, how catering to curators can be like herding cats, and why parts of the great museum were a bit like the Tower of Babel. An edited transcript is below.

????Fortune: What drew you to the Metropolitan Museum of Art in the first place?

????Thomas Campbell: Broadly, philosophically, I was a tapestry scholar, and I came to the Met because I saw it as a place where I could organize big exhibitions that would have real scholarly clout but at the same time where I would have a broad general audience.

????I truly believe that the Met was set up as an educational institution, and not just as an American museum but a museum of all cultures. In the current world, that vision is as relevant as ever. Whether it's trouble in Cairo or in Syria, these are present day manifestations in some cases of issues that go back centuries, and you know, in our galleries you can kind of unpack some of this and get a broader understanding of the complexity of the present and of the past and the way it's all linked.