PAAM's artist founders had come out of the Impressionist tradition and thus did not readily accept the new Modernist movement.
Faced with aesthetic differences among its artist membership, however, the organization worked to maintain a balance in the work it exhibited.
True to its mission, PAAM mounted separate "Modern" and "Regular" summer exhibitions between 1927 and 1937.
Partial conciliation was reached in 1937 when concurrent exhibitions were hung in the same gallery on opposite walls.

The Depression years of the '30s and the war years of the early '40s were difficult times for the town and the Association.
Although annual shows were canceled, volunteers managed to maintain a reduced schedule.
By 1947, the regular schedule of two summer exhibitions had been reestablished.
The rise of Abstract Expressionism—intensified by the location of Hans Hofmann's summer school here—again riffled the deep divisions within the arts community during the '50s.

When PAAM celebrated its 50th anniversary in 1964 with a retrospective show of its major artists, the organization focused on gaining national attention for Provincetown's considerable contribution to American art.
The effect was a boon for the organization.
Activities increased, new galleries were added, the exhibition schedule expanded, a storage vault was built to house the expanding collection, and once again PAAM showed itself as the center of the local art world.

As PAAM grew throughout the next three decades, the organizational structure of the museum continued to include strong representation from both the artist and lay communities.
PAAM'S dual purpose of the organization—to be a collecting museum and a professional artists' association—has been consistently supported over the course of its history.
The collection has been the basis for many exhibitions and has served scholars, researchers and other museums.
Including close to 2,500 works from artists who have lived or worked on the outer Cape.
PAAM's artist founders had come out of the Impressionist tradition and thus did not readily accept the new Modernist movement. Faced with aesthetic differences among its artist membership, however, the organization worked to maintain a balance in the work it exhibited. True to its mission, PAAM mounted separate "Modern" and "Regular" summer exhibitions between 1927 and 1937. Partial conciliation was reached in 1937 when concurrent exhibitions were hung in the same gallery on opposite walls.
The Depression years of the '30s and the war years of the early '40s were difficult times for the town and the Association. Although annual shows were canceled, volunteers managed to maintain a reduced schedule. By 1947, the regular schedule of two summer exhibitions had been reestablished. The rise of Abstract Expressionism—intensified by the location of Hans Hofmann's summer school here—again riffled the deep divisions within the arts community during the '50s.
When PAAM celebrated its 50th anniversary in 1964 with a retrospective show of its major artists, the organization focused on gaining national attention for Provincetown's considerable contribution to American art. The effect was a boon for the organization. Activities increased, new galleries were added, the exhibition schedule expanded, a storage vault was built to house the expanding collection, and once again PAAM showed itself as the center of the local art world.
As PAAM grew throughout the next three decades, the organizational structure of the museum continued to include strong representation from both the artist and lay communities. PAAM'S dual purpose of the organization—to be a collecting museum and a professional artists' association—has been consistently supported over the course of its history. The collection has been the basis for many exhibitions and has served scholars, researchers and other museums. Including close to 2,500 works from artists who have lived or worked on the outer Cape.
Provincetown Art Association and Museum