Based in the UAE for over forty years, cultural strategist, editor and moderator Myrna Ayad has dedicated her career to shaping and sharing the narrative of Arab culture. As the former Director of Art Dubai and the visionary founder of both her namesake consultancy firm and the inspiring children’s book series Noor’s Heroes, she expertly bridges the gap between institutions, creatives and global audiences. Her formidable portfolio spans high-profile collaborations with luxury Houses including Bvlgari and Prada, alongside prestigious public institutions across the region. Driven by a philosophy that culture is a public good, she continues to translate complex regional heritage into compelling, care-driven stories for major international publishers and corporate giants alike.
MOJEH: Tell us about your journey into the world of art and culture.
Myrna Ayad: I stumbled into it accidentally in the early 2000s through a small, now-defunct publishing house whose weekly paper had a bit of a Village Voice spirit to it. We documented what was then a very nascent art scene. From there, I spent a transformative decade as an editor while travelling the world championing art and artists from our region long before much of the world was paying attention.
How would you define the Middle Eastern art market in a single sentence?
Passionate, resilient, occasionally chaotic, deeply human — and impossible to ignore.
What is the most common misconception people have about art from the Arab world?
That it exists only in relation to conflict, politics or identity — when in reality it contains humour, abstraction, tenderness, irony, beauty, boredom, love and everything else that makes us human.
As a strategist, what is the first thing you look for when discovering a new artist’s work?
Originality and emotional honesty. I’m interested in work that lingers — work that makes me feel something before I even fully understand why.
What is the most rewarding part of documenting the history of the regional art scene?
The pride, perspective and knowledge it gives me.
If you could place one piece of Middle Eastern art in a major global museum, what would it be?
I’d rather build bigger museums for the works already deserving to be there.
What is the biggest lesson you took from your time as the Director of Art Dubai?
That instinct matters. In the art world — as in life — you learn very quickly who is there for the work, who is there for the title, and who is there for the photograph.
How do you see the relationship between Dubai’s heritage and its ultra-modern art scene evolving?
It’s all one body — heritage and modernity moving together.
What is the one book or resource every art enthusiast in this region should own?
A dangerous question for someone who makes books! Anything that reminds us that this region has always produced culture, complexity, experimentation and beauty.
Where is your favourite place in the UAE to go when you need a moment of quiet inspiration?
My living room or my office.
