Malta today sits at the heart of a personal journey that has taken me from Karachi to Philadelphia, where I arrived as an 18-year-old university student, and then to New York, where I built my career in the art world there.

In the auction houses and galleries of that city, I learned not just how to collect and curate, but how to do so with purpose – to create exhibitions that tell stories, shape perspectives, and invite viewers into the language of art.

My deepest passion has always been museums. The art world is a vast ecosystem of dealers, collectors, and gallerists, but curation is about crafting narratives, revealing hidden connections, and elevating the experience of art into something transformative. So knowing what makes a great work of art, and how to assemble an exhibition that speaks to both the intellect and the senses, requires a deep fluency in this language.

Museum curators play a critical role in bridging the gap between art and its audience. Which is why, like many others, I too have been drawn to Malta to share my knowledge and resources in the service of this public good. At MICAS, I saw an opportunity to bring together the different worlds that have shaped my own perspective and to contribute to an institution still in its infancy, but already showing great promise.

My role on the MICAS International Committee, like that of Timothy Rub, the former director of the Philadelphia Museum of Art, is entirely voluntary. But we both recognise that Malta is at a pivotal moment.

There is an energy here in Malta, an openness to the world, at a time when many countries are retreating into themselves. Mark my words: Malta has the potential to become a serious player in the global contemporary art scene, and the world should take notice.

Our aim is clear – to establish Malta Contemporary as a major exhibition space that attracts world-class artists while providing a platform for Maltese artists whose work is as globally engaged as any of their international counterparts.

That vision is already taking shape, thanks in no small part to MICAS’s artistic director, Edith Devaney, whose experience at the Royal Academy and collaborations with artists like Jasper Johns and David Hockney lend credibility to this ambitious project. Through my own relationships with artists such as Jonas Wood, Antony Gormley, and Tracey Emin, I seek to open doors for MICAS. But with Edith Devaney, we ensure that Malta is taken seriously as a destination for contemporary artists.

And the impact is tangible, for artists are coming. Reggie Burrows-Hodges, an African-American painter from Compton, California, has moved his studio to Malta after a visit to the island. Sir Antony Gormley spent six days exploring MICAS and left deeply inspired. These are not isolated events; they are signs of a growing momentum, of Malta carving out a place on the international art map.

Museums like MICAS, along with their directors and curators, play an essential role in shaping the history of art – just as much as the artists themselves. That is why I host gatherings during Miami Art Basel to raise awareness of institutions like Malta Contemporary. The question is no longer whether Malta can stake its claim in the art world; it is how far it can go.

Later this year, MICAS will open a landmark exhibition on Milton Avery and his enduring influence in American art. It is a rare occasion in Europe – Malta will be breaking new ground for the global art world by showcasing work from Avery that directly influenced artists like Mark Rothko and Adolph Gottlieb, along with other works from March Avery, Nicholas Party, Harold Ancart, Gary Hume, and with Andrew Cranston specifically creating new works for this show. It will be an exhibition that will signal Malta’s arrival as a serious cultural destination.

I can only commit myself selflessly to such a visionary project, to turn over to you my experience with musuems such as the National Gallery in Washington D.C., the Drawing Center of New York, the Lowe Art Museum, the Barnes Foundation, and the Philadelphia Museum of Art, to bring to Malta exhibitions of the highest, global standard.

For this vision to truly succeed, the Maltese people must embrace it as their own. Institutions like MICAS thrive when they are supported, engaged with, and believed in.

MICAS is an opportunity to build something lasting, something of real international significance. And the world is paying attention.

Waqas Wajahat is founding chair of the International Committee at Malta Contemporary (MICAS), and ambassador for the Goodwood Art Foundation