Laurel Reuter, founding director and chief curator of the North Dakota Museum of Art, was born and raised on the Spirit Lake (Dakota) Nation in North Dakota where she attended reservation schools. She completed her B.A. in English at the University of North Dakota and
M.A. in American Literature at UND while founding the North Dakota Museum of Art (1972).

Reuter founded the Museum as a student gallery in the Memorial Union in the early 1970’s as she pursued her Masters degree in English. Reuter guided the Museum through many stages including:

With the impossible goal of “building the best small museum in America,” Reuter curated dozens of exhibitions by national and international artists. This contemporary art museum is recognized nationally for 1) the strength of its exhibition program, 2) ground breaking human rights exhibitions, 3) responsiveness to its community, 4) involvement with international artists long before it became usual, and 5) the commissioning of landmark works of art anchored in the landscape, history, and culture of the Northern Plains. Among them are Mary Lucier’s Floodsongs (1998) and The Plains of Sweet Regret (2004).

Reuter went on to author numerous books and exhibition catalogs, including Whole Cloth, Under the Whelming Tide, Marking the Land: Jim Dow in North Dakota, Mouths of Ash: Juan Manuel Echavarría (Spanish/English), The North Dakota Museum of Art and its Collections, and recently, The Disappeared, (Spanish/English) exhibition catalog that accompanies The Disappeared exhibition, currently touring internationally through 2010. Upcoming books include a monograph about Xu Bing, Snow Country Prison: Interned in North Dakota, and several exhibition catalogs.

The Disappeared, which includes fifteen artists from seven Latin American countries, was reviewed by Holland Cotter of the April 2, 2007, New York Times. According to Cotter, the bilingual catalog “is a work of art in itself. From Ms. Reuter’s stunning essay to the supplementary material, it is a total-immersion emotional experience.“ Of the exhibition he states, “There may have been a more moving show of contemporary political art in the city this season than The Disappeared at El Museo del Barrio, but if so, I missed it.” Cotter ends his review by asking, “And why is it that an on-the-road exhibition from a small museum in the Midwest is the most potent show of contemporary art, political or otherwise, in town? All I can say is that curators in our local museums should pay a visit, and ask themselves that question.”

The Trustees of the North Dakota Museum of Art announced in May 2007: In honor of our Founding Director, Laurel Reuter, we are establishing an endowment within the North Dakota Museum of Art Foundation designated to furthering the intellectual life of the Northern Plains. At her request it will be named the “Wallace Family Endowment.”