Beyond Accessibility: Neurodiversity as a Creative Catalyst
“...there is no standard brain, just as there is no standard flower, or standard cultural or racial group, and that, in fact, diversity among brains is just as wonderfully enriching as biodiversity and the diversity among cultures and races.”
- Thomas Armstrong, The Power of Neurodiversity
Creative brilliance lies in differences. The concept of ‘normalcy’ is often associated with a standard way of being—a predictable pattern of behaviour. However, to be human is to possess attributes that are unique to an individual. Inclusion involves bringing those who are on the margins into the collective core. Nurturing diverse talent can enrich the art ecosystem by expanding the range of creative output produced, and it is this integration of distinct perspectives that forms the very essence of diversity. The current social climate has compelled museums around the world to understand audience needs while making public access and outreach an equal, if not greater, priority than collecting. When considering engagement and participation, many arts organisations have successfully devised strategies to include individuals with physical disabilities, but the conversation around access for the neurodivergent community has been slow to gain momentum. There is no universal solution to addressing the challenges of bringing neurodivergent individuals into arts spaces. With Neurodiversity Celebration Week approaching, we analyse how art institutions in the UK have been making concerted efforts to address this, setting noteworthy precedents in the process.
Anna Berry, A Fall From Grace, 2022. Porcelain Sculpture. Photo Courtesy: the artist.
While estimates may vary across demographics, roughly 10%–20% of the global population is considered neurodivergent, a term initially created to refer to autism but has since expanded to include other neurological differences like ADHD, dyslexia, and dyspraxia, among others. Judy Singer, often dubbed the ‘mother of neurodiversity’, emphasised that not all brains think or feel the same, and differences in perception and processing are not deficits. With the increasing prevalence of this population, there is a growing need for recognition by institutions in terms of accessibility, resources and accommodations offered. While educating audiences remains the fundamental mission of art institutions, they must alter their offering to accommodate the needs of the diverse people they serve. This transition from becoming collection-centric to audience-centric allows an organisation to rethink its impact on society.
Established in 1982, the Barbican is a visual and performing arts centre that has been committed to curating experiences for people with varying requirements. Since the creation of the Access Group in 2000, established to discuss issues relating to accessibility at the venue, the centre has introduced a range of neuro-inclusive public programming. One of the most significant initiatives is Relaxed Screenings, which has been ongoing for a few years and has played an integral role in shaping the institution’s progress to this day. This format of cinema offers an informal, sensory-friendly approach to any space—with dimmed lights, toned-down sounds, and trained staff to deal with diverse needs, while allowing free movement and sound.
Dimmed lights during a Relaxed Screening at the Barbican Cinema 3. Photo Courtesy: Kritika Salhotra.
A member of staff highlighted the exceptional attention to detail—from a dedicated relaxed seating area outside the hall to visual guides, and reduced music in the foyer. Every measure, no matter how small, has been thoughtfully implemented to create a welcoming environment. Their audience-focused approach has not only helped increase engagement but also widen reach. At the Barbican, inclusionary practices are extensively aimed at neurodivergent creators and artists as well. Initiatives like Autism and Cinema: An Exploration of Neurodiversity and Stims: Towards a Neurodiverse Cinema showcased cinema reflective of autistic perspectives and the experience of neurodiversity, across genres and themes.
At its core, art seeks to capture human experience, encompassing its complexity, diversity, and range of perspectives. Neurodivergent textile artist Tzipporah Johnston’s work explores monotropism—a theory suggesting that the core characteristic of autism is an intense focus on one subject at a time. She highlights its potential to redefine autism beyond narratives of distress or deficit, offering a more nuanced perspective. Artist Anna Berry believes that because she has a mind that thinks differently, it is almost as if she inhabits another world. Interestingly, an aspect that is reflected in her works is the idea of multiple dimensions around us. Encouraging such talent can enrich the artistic ecosystem as diversity within a group contributes to productivity. This reinforces the importance of implementing inclusive hiring practices within the arts sector, highlighting the need to improve their representation in various capacities.
Tzipporah Johnston, Venus Eye Trap 2, 2023. Stumpwork embroidery. The artwork offers insight into the neurodivergent experience as it reflects the artist’s discomfort with eye contact. Photo Courtesy: Scott van der Zanden.
This March, the art world comes together for the global initiative of Neurodiversity Celebration Week, which challenges stereotypes and recognises the skills and talents of this community. Marking its tenth anniversary, I Am Festival 2025 will take place, in collaboration with Tate Modern and Young V&A. It will continue its tradition of inclusive museum and gallery takeovers, transforming cultural institutions into spaces of representation. The Manchester Museum will also host an event in response to their exhibition, Wild, for which they have been working with neurodivergent and d/Deaf people and artists to investigate their experiences of the natural world.
There is great strength in the interconnectedness of the art world when it works towards a shared goal. Art has long served as an instrument of social change and challenged perceptions. By showcasing art from neurodivergent collectives, institutions can challenge ableist assumptions that value is tied to neurotypical cognition. Change can begin at a micro level with community-based practices and gain the required recognition through impactful collaborations. The contemporary art world tends to acknowledge issues primarily when they are featured on larger platforms. It is thus essential to collaborate with established organizations because such partnerships can help to enhance recognition and credibility.
Mahlia Amatina, Bus Journey I. Photo Courtesy: the artist.
The term ‘neurodiversity’, much like the world around us, is constantly evolving, and taking on larger meaning. Given the technological advancement and digital expansion in the museum and arts industry, the possibilities to support and foster this community are endless. As the focus shifts towards the experience economy, emphasising interaction and immersion, the art world must develop new avenues for growth through sustained efforts. The need for innovation, greater diversity of thought and empathy is important now more than ever before. Neurodiversity has the potential to redefine our society and improve lives and is therefore worthy of attention at all levels of the art system.
BIBLIOGRAPHY
Armstrong, Thomas. The Power of Neurodiversity: Unleashing the Advantages of Your Differently Wired Brain. Da Capo Press, 2011.
Axbey, Harriet, Nadin Beckmann, Sue Fletcher-Watson, et al. “Innovation through neurodiversity: Diversity is beneficial.” Autism 27, no. 7 (2023): 2193-2198. https://journals.sagepub.com/doi/full/10.1177/13623613231158685.
NHS Cambridge University Hospitals. “What is neurodiversity?.” Accessed October 11, 2024. https://www.cuh.nhs.uk/our-people/neurodiversity-at-cuh/what-is-neurodiversity/.
Mahto, Monika, Susan K. Hogan, Steve Hatfield, et al. A rising tide lifts all boats (Deloitte Insights, 2022, https://www2.deloitte.com/content/dam/insights/articles/us164891_cir-career-paths-and-critical-success-factors-for-neurodivergent-workforce/DI_CIR_Career-paths-and-critical-success-factors-for-neurodivergent-workforce.pdf.
Guffey, Elizabeth. “The Disabling Art Museum.” Journal of Visual Culture 14, no. 1 (2015): 61-73. https://journals.sagepub.com/doi/full/10.1177/1470412914565965.
Kritika Salhotra
Features Co-Editor, MADE IN BED
