Which is why people who like New Music don't rely on those institutions.
I wouldn't say this is a new phenomenon. It's been that way at least since the '50s. What I think is different now is that, for whatever reason (and I think a big part of the reason is the accessibility of many current styles), New Music has a larger general audience than it has at any time since the '50s. Larger crowds, and the more populist venues that spring up to serve them, attract notice.
I'm going to a show at the Baryshnikov Arts Center tonight -- and that's one of the stodgier places I frequent.
(Oddly, New York City Ballet has managed to regain the reputation of being impeccably contemporary. I guess that's a testament to the lingering magic of Balanchine. But it's also privileged the work of younger choreographers like Justin Peck. And it doesn't hurt that it has a new stable of highly personable young stars.)
ETA -- No, I'm going to BAC tomorrow. I'm going to the Met tonight -- speaking of stodgy.