A cardinal sin in museum administration is to fall for the temptation to sell an item from the collection for operating funds, even in an emergency. Once the object gets into the hands of a private collector, the public may never see it again.

The second great sin — and often a breach of contract — is to use funds given for a specific purpose to pay for something else. That can tempt any nonprofit in bad economic times. A sign of how perilous the times are for museums is that the Association of Art Museum Directors, which prides itself on upholding ethical standards, recently told its members that for the next two years there will be no slap on the wrist from the AAMD if they violate either rule. Legally, a museum would still have to seek permission from the donor to redirect money toward an emergency use, but there will be no shame or blame in the industry if it does.

The woe that artists and arts and cultural institutions are experiencing from the coronavirus pandemic (in addition to the personal risks shared by everyone) calls for desperate financial measures. Their dilemma is that even when audiences and perfomances are again allowed, it may not appeal to people or make financial sense. Social distancing in an auditorium or at a historic site may just not work. In a theater that seats 1,400 people, can the the show go on if only 700 tickets can be sold? Or 300? Does that pay the actors or musicians? Will people even have the spare cash to pay admission?

The answer in many cases could be no. In southeastern Connecticut, where summer is a major season for visitors and audiences, presenters are wondering which is worse: staying closed through months of uncertainty about a viral resurgence or reopening only to have to close again. Some managers fear that a cycle of close-open-close might leave them financially unable to open again — ever. That would be a great loss.

With social distancing this spring, the Eastern Connecticut Symphony Orchestra canceled its year-end concerts and the finale of the 10th anniversary season for Music Director Toshiyuki Shimada, but posts links to at-home performances by its musicians. The Eugene O'Neill Theater Center will present no public performances this summer, moving its season online. Goodspeed Musicals has laid off staff and is down to one show, currently scheduled for September. The region's biggest museums — Florence Griswold, Lyman Allyn and Slater — have gone digital for now. Mystic Seaport may be able to take advantage of outdoor exhibitions. Others, such as the Garde Arts Center, have had fewer options. All are working hard to find solutions.

According to a recent Americans for the Arts study on pandemic-related economic losses, nonprofit arts organizations have already lost an estimated $4.5 billion and 197 million event admissions; that translates to another $6.2 billion not spent by audience members going out to dinner, taking Uber rides, etc. And that translates to lost revenue for businesses and government.

Wendy Bury, executive director of the Southeastern Connecticut Cultural Coalition, says some of the coalition's nonprofit and for-profit members are "in total crisis." While some have secured Small Business Administration loans, others are without a lifeline. The question may come down to "Even if we are allowed to open, can we afford to?" Those are bitter words in the mouths of people whose mission and livelihoods are to enrich and entertain.

The coalition is serving as the clearinghouse for the region's arts sector, posting COVID-19 information on its website and leading webinars on assistance, an invaluable service in a fragmented industry. This week the Connecticut Arts Alliance and the state Office of the Arts and its nine regional service organizations, including the SCCC, expect to release reopening guidance for the statewide arts and culture industry. Overriding it will be guidelines being developed by the governor's Reopen Connecticut advisory group. Each arts institution will have to think about capacity in the time of social distancing, and whether a reduced season would cost too much to attempt.

Even in normal times, the nonprofit theater, music and art offerings that make this region an entertainment center for Connecticut depend on support beyond admissions fees. Now there are no admissions, only donations, the museums and theaters empty, even as the restrictions we face make us wish more than ever for the relaxation and excitement the arts create. 

As they determine safe and sound ways to reopen, any size gift would let your favorites know they have your support. That's even better than applause.

The Day editorial board meets with political, business and community leaders to formulate editorial viewpoints. It is composed of President and Publisher Timothy Dwyer, Executive Editor Izaskun E. Larraneta, Owen Poole, copy editor, and Lisa McGinley, retired deputy managing editor. The board operates independently from The Day newsroom.