t their core, both the NCRP report and the Typology can be taken as an invitation to arts funders to pause and scrutinize many of the assumptions that have framed cultural philanthropy in the US for the past fifty years. If there ever was a time for this kind of rigorous self-examination it is now---most certainly, as a forthright response to the fairness questions raised by the report but, more importantly, because of its implications for the cultural community, and society at large. This is because the report's thesis describes a cultural ecosystem that is out of balance in a way that threatens both the health and relevance of the entire sector --- all artists and arts organizations, in all communities.
