The New York Times corrects Fondation Cartier profile after misstating size and leadership roles

The New York Times has issued a correction to its profile of Chris Dercon, managing director of the Fondation Cartier, after misstating two basic but significant details: the size of the institution’s new Paris home and the position of its president.

The article, published on September 15, initially described the new building opposite the Louvre as 86,000 square feet. In fact, it is 91,500. It also incorrectly identified Alain Dominique Perrin as the Fondation Cartier’s director rather than its president.

For a feature that set out to capture Dercon’s sweeping vision and the architectural boldness of the Fondation’s new home, these factual slips risked undermining the central narrative. A museum’s square footage is more than a number; it shapes perceptions of scale, ambition and cultural weight. Meanwhile, confusing the roles of president and director clouds the governance of one of France’s most prominent private art institutions — details that matter to funders, artists and the public alike.

Corrections of this type may appear small, but they go to the heart of journalistic credibility. If a paper cannot reliably distinguish between leadership titles or correctly report the size of a landmark building, readers are left to wonder what else may have been misstated. In cultural reporting, where institutions often balance prestige, politics and patronage, accuracy is not a footnote but the foundation.

The New York Times’ prompt acknowledgement restores the facts. Yet the episode illustrates a recurring problem: corrections are often buried at the end of lengthy features, long after the original misimpression has circulated. For a global audience relying on the Times to interpret Europe’s cultural landscape, such lapses risk diluting trust in coverage meant to shape understanding of the art world.