The White House has issued a comprehensive denouncement of multiple artworks, exhibitions, and objects currently displayed at the Smithsonian Institution, escalating President Donald Trump's ongoing criticism of the prestigious museum network. The condemnation, published on the official White House website under the title "President Trump Is Right About the Smithsonian," represents the most extensive attack yet on the institution's programming and curatorial decisions.
The White House list included several exhibitions that Trump had previously criticized, particularly targeting displays at the National Museum of African American History and Culture that address themes of white dominant culture. The president had already singled out these presentations in an executive order issued earlier this year. Additionally, the denouncement referenced a show about sculptures as signifiers of power at the Smithsonian American Art Museum, which had drawn Trump's ire in the past.
However, the latest criticism expanded to include presentations that Trump had never before publicly referenced, and remarkably, one exhibition that was never actually mounted at any Smithsonian facility. Among the newly targeted works was a painting by artist Amy Sherald depicting a Black transgender woman posing as the Statue of Liberty. This artwork was originally scheduled to appear in a National Portrait Gallery version of Sherald's traveling survey exhibition.
The controversy surrounding Sherald's work deepened when the artist withdrew the painting from the National Portrait Gallery iteration of her show, alleging censorship. Sherald claimed that museum officials had requested she not display this particular piece, even though it had been successfully exhibited in the Whitney Museum version of the same traveling exhibition. This incident highlights the growing tension between artistic expression and institutional pressures in major American museums.
Meanwhile, in Shanghai, the Rockbund Art Museum (RAM) has encountered significant operational challenges since implementing its groundbreaking free admission policy earlier this year. The private museum made the bold decision to eliminate entrance fees in celebration of its 15th anniversary, aiming to increase accessibility to contemporary art for the general public.
According to executive director and chief curator X Zhu-Nowell, the free admission initiative reflected the museum's fundamental commitment to democratizing art access. However, the policy change brought unexpected complications that tested the institution's capacity and management systems. The program launched in May with exhibitions featuring works by Ash Moniz, Cici Wu, and Irena Haiduk.
Initially, RAM implemented a timed-entry booking system through WeChat to manage visitor flow. However, by June 11, the museum abandoned this reservation requirement in response to citywide guidance encouraging the removal of access barriers. The elimination of the pre-booking system led to overwhelming crowds that frequently exceeded the museum's 500-person daily capacity, sometimes reaching the limit hours before closing time.
The situation reached a crisis point when frustrated visitors who were turned away began complaining publicly. Tensions escalated when one disappointed visitor shared online that RAM's official social media account had responded coldly with "Please don't come back." The incident sparked public backlash and forced the museum to issue a formal institutional apology, followed by a personal statement from director Zhu-Nowell acknowledging the inappropriate response.
To address the crowd control issues, RAM developed a hybrid system combining next-day reservations with same-day walk-in availability. When The Art Newspaper visited the museum in July, the entry process had reportedly improved significantly. Zhu-Nowell reflected on the experience as valuable growing pains for a small, independent institution adapting to unexpectedly high attendance levels.
In other cultural news, luxury fashion house Chanel has partnered with the Pinacoteca de São Paulo to establish a new annual residency program specifically designed for women artists. The initiative will provide selected artists with dedicated studio space, resources, and mentorship opportunities to develop their creative practice.
Interesting employment data has also emerged showing a reversal in job market trends for recent graduates. Federal Reserve Bank of New York statistics reveal that art history graduates had a significantly lower unemployment rate than computer science majors in 2023, with 3 percent compared to 6.1 percent respectively. This represents a dramatic shift from previous years when computer science degrees were considered more reliable paths to stable employment, while art history graduates faced some of the highest unemployment rates among recent college graduates.
These developments reflect broader changes in both the cultural landscape and job market, as traditional assumptions about career stability and institutional authority continue to evolve in contemporary American society.
