Renowned artist Amy Sherald, best known for her official portrait of former First Lady Michelle Obama, has publicly detailed her decision to withdraw her exhibition from the Smithsonian's National Portrait Gallery amid growing concerns about censorship at the prestigious institution. In a strongly worded opinion piece published on MSNBC's blog on Sunday, August 24, Sherald condemned what she described as the Trump administration's systematic efforts to reshape and control the Smithsonian Institution.
Sherald pulled her touring exhibition "Amy Sherald: American Sublime" from the National Portrait Gallery in July after learning that the institution was considering removing her controversial painting "Trans Forming Liberty" (2024). The artwork reimagines the Statue of Liberty as a Black transgender woman, modeled after drag performer and musician Arewà Basit. The painting gained significant attention when it graced the cover of the New Yorker earlier this month, becoming a symbol of contemporary discussions about identity and representation in America.
"When governments police museums, they are not simply policing exhibitions. They are policing imagination itself," Sherald wrote in her opinion piece titled "Censorship has taken hold at the Smithsonian. I refused to play along." The artist expressed deep concern that government interference could fundamentally alter how history is presented and understood by future generations. She warned that such actions represent a dangerous precedent for artistic freedom and cultural expression in American institutions.
The controversy intensified when "Trans Forming Liberty" appeared on a 26-item list of artworks and exhibitions that the White House compiled after demanding the Smithsonian provide materials for what it called "content corrections." This development occurred shortly after the current administration began implementing broader cultural policy changes across federal institutions. While the National Portrait Gallery has publicly denied censoring Sherald's work, the institution acknowledged to Hyperallergic that it "could not come to an agreement with the artist" regarding the exhibition terms.
In her essay, Sherald directly addressed the institutional dynamics that led to her decision, stating that "while no single person is to blame, it's clear that institutional fear shaped by a broader climate of political hostility toward trans lives played a role." She emphasized that her painting was created specifically to "hold space for someone whose humanity has been politicized and disregarded," making the potential censorship particularly troubling. The artist declared she "cannot in good conscience comply with a culture of censorship, especially when it targets vulnerable communities."
Sherald's criticism extends beyond the current controversy, drawing historical parallels to previous instances of political interference at the Smithsonian. She cited former President Woodrow Wilson's insistence that the institution implement Jim Crow racial segregation policies during his presidency, aligning with his broader segregation of the federal government beginning in 1913. These historical examples underscore her argument that government control over cultural institutions has long-lasting consequences for how American society understands itself.
The artist also referenced more recent incidents of successful pressure campaigns against the Smithsonian, particularly highlighting a 2010 controversy involving the National Portrait Gallery. Following an aggressive campaign by the right-wing Catholic League, the museum removed a video work by artist David Wojnarowicz that depicted Jesus being consumed by ants—a piece that served as commentary on federal government homophobia and inaction during the HIV/AIDS epidemic. This precedent demonstrates how external political pressure can effectively influence museum content and curatorial decisions.
To reinforce her argument about the broader implications of museum censorship, Sherald invoked a powerful quote from former Metropolitan Museum of Art Director Philippe de Montebello: "A museum is the memory of mankind." She expanded on this concept, writing, "If that is true, then to manipulate museums is to manipulate who we believe we are. Control the memory and you control the future." This philosophical framework underpins her resistance to what she sees as systematic attempts to reshape American cultural narrative through institutional control.
The Smithsonian Institution operates under a unique public-private funding arrangement, receiving financial support from both federal sources and corporate donors. While this structure has historically provided some insulation from direct government pressure, Sherald's case suggests that political influence remains a significant factor in institutional decision-making. The current controversy highlights ongoing tensions between artistic freedom, institutional autonomy, and political oversight in American cultural institutions.
Sherald's decision to speak out publicly represents a significant moment in contemporary discussions about art, politics, and institutional responsibility. Her willingness to sacrifice a prestigious exhibition opportunity to maintain her artistic integrity sends a strong message about the importance of protecting vulnerable communities from cultural erasure. As debates about transgender rights, racial justice, and artistic freedom continue to shape American political discourse, Sherald's stand may inspire other artists and institutions to resist what they perceive as inappropriate government interference in cultural expression.
