A Half-Century of Creative Gold: AIGA New York Unveils a Treasure Trove of Design History
The American Institute of Graphic Arts (AIGA) New York has opened its vaults, revealing a stunning 50-year archive of posters that chronicle the evolution of design in one of the world’s most dynamic cities. This isn’t just a collection of paper and ink; it’s a living testament to the creativity, innovation, and cultural shifts that have defined New York’s design scene. But here’s where it gets controversial: as we dive into this archive, we’re forced to confront how technology, social media, and globalization have reshaped not just design, but the very essence of creative expression.
We sat down with former AIGA NY presidents Juliette Cezzar and Chelsea Goldwell to reflect on this extraordinary collection and what it reveals about the past, present, and future of design.
It’s Nice That (INT): Among this vast collection, are there any posters that particularly stand out to you?
Chelsea Goldwell (CG): For me, Sagmeister’s fresh dialogue poster holds a special place. It reminds me of a pivotal moment in my career when there was a shift toward more handmade, human-centric design. But honestly, every poster in this archive is fascinating. Having been on the board and involved in event planning, I see these pieces as more than just announcements—they were opportunities for designers to experiment, express themselves freely, and have fun. That’s what makes this collection so joyful.
Juliette Cezzar (JC): I adore them all, but the late 1990s posters are particularly captivating. They represent a time when designers were optimistically grappling with how computers would transform aesthetics. What’s striking is that this kind of work would never be made again—not because the style became outdated, but because technology fundamentally changed how we communicate. By the mid-2010s, every design had to adapt seamlessly across every medium and scale. Platforms like Instagram and TikTok prioritized raw user-generated content and algorithm-driven strategies over craftsmanship and talent.
And this is the part most people miss: the regional uniqueness of design—where a poster from Los Angeles, Chicago, or New York had a distinct visual identity—has all but vanished. When I was at AIGA NY in the mid-2010s, we often debated what it even meant to be a New York designer. Our response was Making the City, a multi-year initiative that directly engaged and impacted neighborhoods, reaffirming the city’s role as a design hub.
INT: What does this archive say about the spirit of design in New York? What sets the city’s creative scene apart?
CG: New York’s design spirit is curious, inspiring, ambitious, and excellent. The city attracts the best designers in the world, and there’s an infectious energy here—people are always creating, whether they’re tinkering, writing, researching, or making. It’s a place where creativity isn’t just encouraged; it’s a way of life.
JC: New York’s design ethos has always been about freedom—‘I’ll do what I want, with who I want, for the audience that matters.’ This is possible here because New York isn’t a one-industry town like LA or San Francisco. We have everything that fuels design: publishing, tech, finance, education, entertainment, hospitality, and every type of studio, agency, and consultancy imaginable.
CG: New Yorkers value design differently than other places. It’s not a luxury; it’s a necessity. Design is a powerful tool for driving change and shaping culture—something New Yorkers have always understood and embraced.
But here’s the controversial question: As design becomes increasingly homogenized by global trends and digital platforms, is the unique spirit of New York’s creative scene at risk of being lost? Or can it adapt and thrive in this new landscape? We’d love to hear your thoughts in the comments—agree, disagree, or share your own perspective on the future of design in the digital age.
