Already anticipating this generational changing of the guard, some museums are racing to pursue younger donors and trustees.

At the Walker Art Center in Minneapolis, 75 percent of the board membership has turned over in the last seven years. That has brought new life to the Walker, which focuses on modern and contemporary art. But it has also meant the loss of several stalwarts who could be relied on for big checks and sage advice.

"Most of the oldest generation has completely gone off," said the Walker's director, Olga Viso. In its place, Ms. Viso said, a group of trustees in their 50s and 60s has moved into senior leadership roles and begun giving at higher levels, while a younger group of trustees in their early 40s and even late 30s has joined the board.

Among the more youthful members Ms. Viso has recruited of late are John Christakos, founder of the furniture company Blu Dot, who is in his late 40s and serves as the Walker board's treasurer, and Monica Nassif, the founder of the fragrance and cleaning companies Caldrea and Mrs. Meyers Clean Day.

As well as being proactive, another way to attract young donors and trustees is to be a cultural powerhouse. Many prominent art museums in major metropolitan areas, in particular, are so far navigating this transition with ease.

"The very big institutions are doing very well," said Ms. Robinson of the Museum Group. "They have a gravitational field."

Take the Museum of Modern Art in New York, which has well-oiled machinery for cultivating young patrons and turning the exceptional ones into trustees at MoMA or its sister institution, PS1.

"We've been doing this since 1949," said Todd Bishop, MoMA's senior deputy director of external affairs. That was the year that it set up the Junior Council, a group for young patrons. MoMA refreshed the effort in 1990 with the founding of the Junior Associates, a membership group open to those 40 years old and younger.

At a recent Junior Associates event, about 50 young patrons gathered to sip white wine in the museum's lobby after work, giant Brice Marden paintings looming over the makeshift bar. The occasion was a private tour of MoMA's retrospective of the German sculptor Isa Genzken, hardly the most accessible show.

After 45 minutes of schmoozing, the Junior Associates dutifully followed Laura Hoptman, the curator, on a walk-through of the sometimes jarring exhibition. Ms. Hoptman spoke of Ms. Genzken's "physicalization of sound waves" and the artist's battles with depression.

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Museums seek a new generation of donors