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The Bret Waller Papers, 1989-2000, document Waller's tenure as director of the Indianapolis Museum of Art during the 1990s. The collection is organized by subject; materials related to collections and exhibitions, and building operations (including strategic planning) make up the bulk of the collection. Also of note are the materials related to the Lila Wallace Reader's Digest Fund initiative that the museum received funding from to increase the diversity of its audience.

This collection is comprised of architectural drawings of the buildings and grounds of the John Herron Art Museum (Vonnegut & Bohn, 1906) and the John Herron Art School (Paul Philippe Cret, 1929), including additions and upgrades made to those buildings and grounds through the 1960s. Drawings include elevations, sections, lighting, electrical, landscape, and floor plans in the form of blueprints and architectural drawings on drafting paper. Primary creators of these drawings are the architects Bernard Vonnegut, Arthur Bohn, Paul Philippe Cret, Foltz, Osler & Thompson, and Lawrence V. Sheridan.

The Maxwell Anderson papers, 2000-2010, contain records regarding the Indianapolis Museum of Art after Anderson officially took over as director from Anthony Hirschel. The collection contains records primarily sourced from the director’s office and documents the administrative actions of the institution from the director level. The collection is organized by subject, but the individual files are in original order with no further arrangement. Due to Anderson’s involvement with the surrounding community, researchers will find information regarding Crown Hill of value. Not all records fall within Anderson’s time as director. The collection contains records regarding Lawrence O’Conner who served as interim director between Hirschel and Anderson. There are also copies, references, or continuations of projects started by past directors that were used by Anderson.

The Robert A. Yassin Papers, 1963-1991, undated, contains records regarding the Indianapolis Museum of Art after Yassin took over as director from Carl Weinhardt. The collection contains records primarily sourced from the director’s office and documents the administrative actions of the institution from the director level. The collection is organized by subject, but the individual files are in original order with no further arrangement. Due to Yassin’s involvement with other organizations, researchers will find correspondence of value. Not all records fall within Yassin’s time as director. The records from before 1975 are copies, references, or continuations of projects started by past directors that were used or continued by Yassin. The records from after 1990 refer to what would have been at the time, future endeavors, predictions, plans, and aspirations that were started or conducted under or by Yassin.