Since the earliest days of his career, Chuck Close’s vision as a painter has stood out—so much so that, in 1969, the Walker became the first museum to purchase his art, bringing Big Self-Portrait (1967–1968) into the collection. Since then the Walker has acquired 18 more works, including some as gifts from the artist, and organized two solo shows. Given this level of commitment, recent accusations of sexual harassment against the artist have profoundly shaken us—and the field—prompting a serious look at questions related to the presentation of work by artists accused of grave wrongdoing. How can art institutions deeply devoted to both artists and audiences best respond? How should work by artists accused of wrongdoing be presented and contextualized? How must key museum processes change—from acquisitions protocols to the writing of interpretive materials, education programs to publishing? To launch our new Soundboard feature, we invited five experts to weigh in.