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Krens first entered the major art scene as the director of the Williams College Museum of Art in the early 1980s. This was a proving ground where he honed his revolutionary ideas about museum operations. He viewed art not as a static relic but as a dynamic product that required aggressive marketing and a modern, audience-centric approach. This philosophy was considered heretical by many in the traditional museum establishment, which often operated with an air of elitism and scholarly detachment. Krens, however, embraced the language of commerce. He understood that to fund ambitious exhibitions and build a world-class collection, he needed to engage with donors and the public on a different level. His success at Williams, where he dramatically expanded the collection and built a formidable reputation for innovative exhibitions, caught the attention of the Solomon R. Guggenheim Foundation.
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The transition from film to television in the 1950s and 60s was a masterstroke that cemented his financial future. While many of his contemporaries struggled with the shift to the small screen, MacMurray embraced it. In 1960, he stepped into the role of Steve Douglas on "My Three Sons." What followed was a remarkable run that lasted 12 years and 380 episodes. This wasn't just a job; it was a goldmine. Television residuals, unlike the one-time paychecks from film, provide a continuous stream of income long after the final episode airs. For MacMurray, the decision to do the show was as much a financial investment as it was an artistic one. The show’s immense popularity ensured that the royalties kept flowing for decades, long after he hung up his bowling jacket. This steady, reliable income is a primary driver behind his impressive net worth, proving that longevity and brand recognition can be more lucrative than any single box office hit.
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