The opinions expressed in this editorial are those of the author and do not necessarily reflect those of Decima Reports. Not a month after Canadian Heritage posted a report by Wall Communications, entitled A Study of Business Models Sustaining the Development of Digital Cultural Content, an announcement is made that the National Gallery of Canada has overhauled its children’s education site Cybermuse in partnership with the American Express Foundation. Sponsorship was one of several models for sustainability identified by Wall Communications, though the report didn’t focus on the gallery itself. In its research document, Wall Communications states: "Sponsorship funding amounts to an alternative form of advertising…However, maintaining private-sector sponsorship funding over the long term can be challenging, and the level of funding can fluctuate or even disappear entirely depending on changing corporate priorities or economic conditions. Just the same, sponsorship funding provides a viable means to supplement funding for digital cultural products and promote their visibility." The AMEX/gallery partnership is an excellent example. As for the long-term viability question identified, the collaborative record between the two bodies speaks for itself. AMEX has supported Cybermuse since 1996, and its interest doesn’t appear to be waning. Million-dollar partnerships don’t happen overnight, however, and other cultural agencies and companies seeking corporate funding must be aggressive to land it. Corporate sponsorship, however, shouldn’t be seen as a panacea for the industry’s woes in digitizing and posting important cultural content. American Express has a long history of involvement with the arts, and with the National Gallery, but such friends can be hard to find, and are no replacement for long-term, stable funding for cultural digitization projects. The National Gallery is a high profile institution, here and abroad, whose stock is in recognizable names such as Manet, Escher, or Picasso. Institutions whose currency is less noteworthy – the Bytown Museum’s collection of photographs of Colonel By’s house, for instance – have every right to expect help from the public purse if they’re to make our heritage digitally accessible.