Leon Pinkett III is the Executive Director and CEO of the Baltimore Arts Realty Corporation (BARCO), a nonprofit real estate development organization that creates and manages spaces for artists and makers in Baltimore. BARCO oversees key creative hubs such as Open Works, a makerspace in Station North, and Motor House, a multidisciplinary arts center that brings together performance, visual arts, and community programming.

Leon is a former Baltimore City Councilman, having represented the 7th District, which includes parts of West and North-Central Baltimore, for four years. Prior to his tenure on the council, he served as Deputy Assistant Mayor in the Mayor’s Office of Economic and Neighborhood Development and represented that office on the City Planning Commission. His career has long focused on economic development, community revitalization, and creative placemaking in Baltimore.

The principles upon which BARCO was founded remain central to the nonprofit today: recognizing the creative economy as a powerful engine for inclusive growth, developing culturally anchored spaces that serve and reflect their communities, investing in projects that deliver both social and financial returns, and fostering collaboration through meaningful community engagement and diverse partnerships.

Baltimore Arts Realty Corporation (BARCO) was founded to create space for Baltimore’s creative community to thrive. How does your approach to real estate and development reflect a long-term vision for inclusive economic impact?

The first step is recognizing that the creative economy is not simply a passenger in the economic vitality of our region but has the potential to be a driver.

In 2024, the Greater Baltimore Committee developed a 10-year economic opportunity plan called “All In 2035.” The plan confirms what we have championed for the past decade: creativity and culture are major growth sectors for Baltimore and beyond. We must be committed to making the region a premier destination for artists, makers, entrepreneurs, investors, visitors and tourists.

To achieve this vision in an inclusive way, we are committed to a development strategy that is both intentional and collaborative.

Intentional, in that investment in culturally centered projects yields not only financial returns but also social impact. These efforts support community development and drive transformative placemaking, turning underutilized spaces into vibrant places to live, work and play.

Collaborative, in that diverse funding sources are needed to finance these projects, and just as important, because true community engagement is essential. Success depends on involving all stakeholders to ensure that the needs of the community are identified and prioritized.

Your mission goes beyond buildings; it’s about culture, community, and creativity. How do you ensure that every BARCO project stays rooted in the people and places it’s meant to serve?

I do not attribute this quote to my mother, but I remember her often reminding me, “You have two ears and one mouth for a reason.” We try to listen more than we talk.

Open communication is not about checking a box or doing something only during the planning stages of a project, never to return to it. Communication must remain a vital part of the project throughout its entire life.

Some communication is standard, such as meetings, newsletters, updates, emails and social media. But especially for arts-centered developments that are community-facing, the spaces we create should reflect the priorities of the people they serve.

Accessibility to the space and its events should signal that the community is welcome. The staff and vendors who support the space should reflect the demographics of the surrounding neighborhood. The community should see itself represented in every aspect of the project.

BARCO has already developed successful models like Open Works and Motor House. How do you approach building on what works, while adapting each new project to meet the unique needs of Baltimore?

The uniqueness of projects like Open Works and Motor House, along with the challenges and strategies each presented, has given us a valuable testing ground. These experiences have taught us not only how to launch projects of this kind but also how to sustain them over time.

As a result, we are able to share both our successes and our challenges with other organizations pursuing similar efforts. One size does not fit all, and we have learned how to adapt to the unique characteristics and environments of each project.

As BARCO looks to expand its impact, what do you see as the biggest opportunities to influence how cities think about arts-driven development?

Most, if not all, of these suggestions are not new to cities. Many have already incorporated them into their development strategies, and they should continue to do so.

Cities should make greater use of adaptive reuse, especially transforming vacant buildings through arts-driven development. Involving artists in these projects only strengthens their power to revitalize communities.

One area where cities could do more is recognizing that creatives include not only artists but also artisans, makers and craftspeople from a wide range of disciplines. These individuals are helping to usher in a new generation of small-scale manufacturers. Supporting this modern industrial movement and incentivizing light manufacturing can be a key part of reviving dormant, formerly industrial spaces.

Cities should also embrace mixed-use developments that integrate arts and culture. This can include everything from studio and co-working spaces to performance venues, restaurants and residential housing for artists. These types of projects allow artists to live, create and sell their work in or near the same space.

It is also important to understand that bricks and mortar are just one part of the equation. Projects have a life beyond the ribbon cutting. The organizations and activities that bring these spaces to life must be supported long after the grand opening. Accessibility is essential to the success of any arts organization or arts-based development, and continued financial support from both public and private sources is critical to maintaining that access.

What lessons from your work in Baltimore could be instructive for other cities trying to blend cultural investment with equitable growth?

There is a quote from renowned Japanese filmmaker Akira Kurosawa that says, “The role of the artist is to not look away.” Artists should not ignore the difficult issues in society and culture, and neither should we. In fact, we should face them, engage with them and be part of the effort to create meaningful change. Inclusion and equity are key challenges in all of our municipalities, and they are not issues we should avoid.

Developing sustainable, arts-centered projects is challenging on many levels, but those challenges should not prevent us from pursuing investments that have a meaningful and lasting impact on our communities. We should support artists and organizations that aspire to own their spaces. That means offering technical and financial assistance so they can move from being renters and users to becoming owners.

Cities must be visionary in all neighborhoods, not just the ones deemed worthy of investment by for-profit developers. It is in the areas where the market has not yet taken hold that we need to focus our creativity and resources, so that every part of the city has the opportunity to grow and thrive together.

Looking ahead, how do you see the intersection of arts, real estate, and entrepreneurship evolving, and how is BARCO positioned to lead in that space?

We should support organizations that do more than simply grant people access to physical spaces. We should uplift individuals and their work by providing access to equipment, information, capital and resources that help turn their aspirations and plans into viable enterprises.

That is what impresses me most about both Motor House and Open Works. Motor House is committed to emerging artists who need space and opportunity to develop their craft and gain exposure.

In many ways, Open Works serves the same purpose for entrepreneurs. It is not a makerspace for the traditional hobbyist or tinkerer. It is a workshop for someone with a dream but no access to equipment, or with a plan but lacking the necessary resources. For the cost of a gym membership, individuals can use tools they could never afford on their own, launch businesses, employ neighbors and make a lasting impact on their communities.

I see both of these projects as models for how we can engage with creatives and entrepreneurs—and for how we can build and sustain the spaces that support them.

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