By John Q. Hosedrinker 
The White House, under President Trump’s direction, has released a list of objectionable exhibits and artwork at various Smithsonian museums, claiming the institution is too “woke.” The list, published with the headline “President Trump Is Right About the Smithsonian,” targets content related to race, slavery, immigration, and transgender identity. White House officials stated the administration aims to remove “divisive ideology.” The Smithsonian, in response, maintains its commitment to factual historical presentation.
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The White House recently released a list of Smithsonian exhibits that it objects to, and honestly, it’s hard to know where to even begin unpacking this. As a museum professional, I’m particularly sensitive to how history is presented – it’s not about “wokeness,” but about the full, sometimes uncomfortable, reality of our past. And this administration seems determined to selectively erase or rewrite that past to fit a particular narrative. It’s reminiscent of historical censorship, forcing certain exhibits to reflect specific ideals.
One aspect that’s particularly troubling is the reported objection to a temporary exhibit about disabled Latinos and Latinas. It’s as if acknowledging the existence of marginalized groups is now considered offensive. We are encouraged to remember and learn from the past, not to cater to narratives that feel better to some at the expense of others. The idea that taxpayer money shouldn’t be used for exhibits that “pit Americans against one another” is a convenient excuse, especially when the administration seems eager to dismantle social programs.
Of course, this also brings up the ever-present comparison to historical censorship, specifically the Nazi regime. The parallels, although not exact, are there. Just like the Nazis, this administration seems intent on controlling the narrative, dictating what can and cannot be shown. Many exhibits would be lost as the administration deems exhibits “degenerate.” We might be seeing the beginning of an attempt to rewrite history to reflect a skewed ideology. It’s an echo of a dark period, and those who fail to recognize it are either willfully ignorant or have a particular agenda.
The administration’s stance towards the National Portrait Gallery is also illuminating. The objection to artwork like Rigoberto A. González’s painting, *Refugees Crossing the Border Wall Into South Texas*, reveals a fundamental misunderstanding of the role of art and history in society. Art is there to depict the raw, unfiltered human experience, not to fit a predetermined political mold. To object to such displays speaks volumes about a desire to control and manipulate the public’s understanding of the world. They’re trying to dismantle displays of humanity.
The administration’s call for “accurate, honest, and factual” history is almost laughable, given its track record of misinformation and distortion. If reading history doesn’t upset you, it’s not history; it’s propaganda. History is supposed to be challenging and provocative, forcing us to confront uncomfortable truths. This is not about catering to a specific viewpoint, but about fostering a deeper understanding of the complexities of the human experience.
The administration’s approach feels less like governance and more like a crusade against anything that doesn’t align with a particular ideology. It’s a troubling trend, and it will take more than just a list of objections to make a country change or understand *why* it needs to change. This is the kind of thing that authoritarian regimes engage in, not a democratic republic that is trying to move forward. The past, including things that are not always positive, is a very important part of moving forward.
Of course, the absence of the actual list of exhibits, along with calls for the release of the Epstein files, only adds to the frustration. It is the actual exhibits that people want to see, the actual things that the government is objecting to. You cannot make a judgement of something if you don’t know what it is that is being objected to. The reality of history is much more impactful than any whitewashed portrayal.
This ongoing trend of censorship and control is a dangerous path. It’s not just about what’s in the Smithsonian; it’s about the erosion of free speech and the right to learn from our past. This all feels like an assault on truth and a denial of the very essence of what makes us a society.