In Latin America and the Caribbean—as throughout the developing world—the overriding museum problem is the lack of funds. Their poverty explains why most museums operate as static institutions, incapable of reaching out to the community of which they form a part. The same complaint from museum directors and staff can be heard time and again: ‘We can't do anything because we haven't the money.’ Many simply cannot afford to employ the necessary qualified staff; while others, which do have staff skilled in modern museological techniques, find that their projects are thwarted because they do not possess the means to set up their exhibitions properly or store their collections in suitable conditions. Museums are more often than not unable to acquire new objects or establish efficient security systems. Some countries with a rich historical tradition—especially pre-Columbian—are more inclined to allocate a share of their budgets to archaeological museums, since the authorities regard them as tourist attractions and consider that any increase in tourism means earnings for the country. This argument is not valid, however, for all countries and, more important still, side-steps the real role of the museum: an educational establishment designed for the community. It strengthens our conviction that museums will receive adequate financing only when governments recognize how important they are and that the object of every museum (whether it deals with history, science, technology or natural history) is to present all aspects of the country's cultural identity and its development. Museums will be allocated sufficient funds—of the same order as those earmarked for health, education and social welfare—only when governments consider them to be part of the country's integral development. Unfortunately, there is no detailed comparative analysis based on concrete financial data of how funds are allocated to museums in the various countries. As a general rule, the budget for state museums is taken out of funds allocated to the ‘cultural sector’ as a whole, some of which are earmarked for museums. The amounts vary according to the priorities established for each country's cultural sector. Significant changes have nevertheless occurred in recent years. In Brazil and Venezuela, for example, the government has given substantial financial support to museums. In Ecuador and Colombia museum activity has been encouraged by contributions from the state and private banks alike. The private sector is now more aware of the value of museums, and its help in financing them is increasing, albeit in an ad hoc and sporadic way. Financing is also a field in which museologists need to receive specific training. Ideally, economists and managers should always be part of the team administering a museum. As Jacques Rigaud pointed out at ICOM's Twelfth General Conference in Mexico City, ‘the time has come to proclaim this truth: museums have become enterprises in the fullest and most modern sense of the word. Here again, their lot is not very different from that of other cultural institutions committed to creativity, conservation, and dissemination, and faced with the same managerial problems, whether it be in the field of the theatre, of audio-visuals, or of multiple cultural activities. In every case it is difficult to gain acceptance of the idea that cultural institutions are both original entities because of their objectives and also, in a certain way, enterprises, that is to say communities for work and exchange, with an autonomous responsibility for combining all the means available to achieve their goals.’ Ecuador and Venezuela—one with a struggling economy and the other a member of OPEC—both provide interesting examples of how the museum sector can break the vicious circle of finance. Sergio Duran Pitarque, Deputy Director of the Museums of the Central Bank of Ecuador, and Belen Rojas Guardia, Deputy Technical Director of the National Art Gallery in Caracas, responded to Museum's request for information. Somewhat condensed versions of their two articles follow.1