White Balls on Walls

Kudos to the Stedelijk for opening itself up to such firsthand scrutiny and to Vos for spotlighting such a vastly relevant topic in a way that’s both insightful and entertaining.

With access to behind-the-scenes processes, the documentary can be instructive about the work of changing legacy institutions, but also wincingly cautionary...

Sarah Vos creates a nearly mockumentary effect that neither fully lampoons nor endorses contemporary standards for the art world’s political correctness but lands at a decidedly more ambivalent point.

What director Sarah Vos is perceptively spotlighting here is the intense discomfort and self-consciousness of the museum’s white staff when confronted with these historic issues — when, in a sense, the mirror is “turned around” on them.

One place where it’s easy to physically see whiteness dominating a space is within art museums, and director Vos’ documentary White Balls on Walls captures one museum’s process of trying to achieve inclusivity in the midst of the coronavirus pandemic.


This is a surprisingly candid portrayal of an organization striving to be better and recognizing that embracing their discomfort is the only way to move forward.

The proceedings keep you on tenterhooks, but nuanced discussions and good faith see them through. ... Vos ... felt it necessary to play devil’s advocate to heighten conflict. Why can’t we just watch a group of conscientious people doing something nice?