By John Q. Hosedrinker 
The organization behind the Trump-Epstein Friendship Statue has erected a 10-foot-tall birthday card on the National Mall. The card, located across from the U.S. Capitol, features the birthday message and sketch President Donald Trump allegedly sent to Jeffrey Epstein. The message, released by House Democrats in September 2025, includes a crude drawing and the words “We have certain things in common, Jeffrey.” The installation, complete with a statue of stacked boxes with redacted files and markers for public messages, is set to remain on display until Friday, January 23rd.
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Massive birthday card replica from Trump to Epstein appears on the National Mall, and it’s certainly a statement. It seems like the immediate reaction is one of awe, maybe even a twisted kind of appreciation for the audacity of it all. Someone described it as “beautiful,” highlighting its potential to help people understand the former leader. And, whether you agree or disagree, there’s a strong sentiment that this kind of protest art is doing its job, making a visible impact. The fact that it will probably be removed is almost secondary; the point, the message, has already been made.
The artistic expression is being embraced, celebrated even. The comments reflect a clear appreciation for the statement this art makes. The idea of this massive card, placed prominently in the heart of the nation, is striking. There’s a clear understanding of the message it sends, and the sentiment is that it’s a powerful way to make people think. The sheer scale and the blatant nature of the message are being applauded as effective tools for capturing attention and sparking discussion. People are hoping it will remain in place for as long as possible, a monument to the controversy.
Then there’s the political undercurrent. The mention of “silly liberals” and “MAGA” is evidence of the divisions. Some individuals are embracing the art while criticizing the opposing political views. There is a sense of disbelief and a frustration that those in power are not being held accountable for their actions, and that there should be some sort of legal consequence. There’s a cynicism expressed, a weariness with the current political landscape and the perceived lack of real action.
The conversation naturally veers into the historical context. The comparison is drawn between Trump and the Nazis, implying that the political landscape is under the control of wealthy people and a significant portion of our government. There is also a mention that many news outlets and social media channels were controlled. The message is, in part, one of deep concern.
The tone shifts again, to a more direct discussion of the artwork. The question of “what does Moses Mike say?” highlights the playful nature of some comments. There are also darker undertones, with references to the type of messages and the people they are associated with. The discussion around potential copyright lawsuits and the question of a pardon reflects the serious nature of the situation.
There’s a shift back to discussing the artwork. It is implied that the artist made a powerful statement, and the discussion moves back to the political landscape. The notion that Democrats are not doing enough. The contrast between the sacrifices made by ordinary citizens to oppose Trump and the perceived inaction of those in Congress is striking.
The conversation then moves into a comparison to the horrors of the old asylum system. There’s a chilling awareness of abuse within the system. The talk is of institutions, with the architectural details of the hospital making the situation more uncomfortable.
Ultimately, the responses to the birthday card are complex and varied. The art itself is seen as a means of expression, a potent symbol that has captured the attention and imagination of many. It’s a reminder of the power of art to provoke and ignite debate, and it certainly seems to be doing that.