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The school field trip has a long history in American public education. For decades, students have piled into yellow buses to visit a variety of cultural institutions, including art, natural history, and science museums, as well as theaters, zoos, and historical sites. Schools gladly endured the expense and disruption of providing field trips because they saw these experiences as central to their educational mission: schools exist not only to provide economically useful skills in numeracy and literacy, but also to produce civilized young men and women who would appreciate the arts and culture. More-advantaged families may take their children to these cultural institutions outside of school hours, but less-advantaged students are less likely to have these experiences if schools do not provide them. With field trips, public schools viewed themselves as the great equalizer in terms of access to our cultural heritage.

Yet when we have said all our fine things about the arts, we must end with a frank confession, that the arts, as we know them, are but initial.

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The old tragic Necessity, which lowers on the brows even of the Venuses and the Cupids of the antique, and furnishes the sole apology for the intrusion of such anomalous figures into nature,--namely, that they were inevitable; that the artist was drunk with a passion for form which he could not resist, and which vented itself in these fine extravagances,--no longer dignifies the chisel or the pencil.

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Tolerance. To measure tolerance we included four statements on the survey to which students could express their level of agreement or disagreement: 1) People who disagree with my point of view bother me; 2) Artists whose work is critical of America should not be allowed to have their work shown in art museums; 3) I appreciate hearing views different from my own; and 4) I think people can have different opinions about the same thing. We combined these items into a scale measuring the general effect of the tour on tolerance.

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The improvement in tolerance for students who went on a tour of Crystal Bridges can be illustrated by the responses to one of the items within the tolerance scale. When asked about the statement, “Artists whose work is critical of America should not be allowed to have their work shown in art museums,” 35 percent of the control-group students express agreement. But for students randomly assigned to receive a school tour of the art museum, only 32 percent agree with censoring art critical of America. Among rural students, 34 percent of the control group would censor art compared to 30 percent for the treatment group. In high-poverty schools, 37 percent of the control-group students would censor compared to 32 percent of the treatment-group students. These differences are not huge, but neither is the intervention. These changes represent the realistic improvement in tolerance that results from a half-day experience at an art museum.

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Students who went on a tour of Crystal Bridges experience a 6 percent of a standard deviation increase in historical empathy. Among rural students, the benefit is much larger, a 15 percent of a standard deviation gain. We can illustrate this benefit by focusing on one of the items in the historical empathy scale. When asked to agree or disagree with the statement, “I have a good understanding of how early Americans thought and felt,” 70 percent of the treatment-group students express agreement compared to 66 percent of the control group. Among rural participants, 69 percent of the treatment-group students agree with this statement compared to 62 percent of the control group. The fact that Crystal Bridges features art from different periods in American history may have helped produce these gains in historical empathy.