Culture wars and artistic freedom are colliding in spectacular fashion this spring, as renowned artist Amy Sherald’s withdrawal from a landmark Smithsonian exhibition sends ripples through America’s art world. The controversy — centered around her groundbreaking work “Trans Forming Liberty” — has sparked heated debates about creative expression in our nation’s most hallowed cultural institutions.
Sherald, who shot to prominence with her striking portrait of Michelle Obama back in 2018, wasn’t just planning another exhibition. “American Sublime” would’ve marked a historic first: the National Portrait Gallery’s first solo showcase of a Black contemporary artist. Now that milestone will have to wait.
The painting at the heart of this cultural earthquake? A bold reimagining of Lady Liberty through a transgender lens. While the piece has found temporary refuge at the Whitney Museum of American Art, its absence from the Smithsonian speaks volumes about the current state of institutional courage — or lack thereof.
In what might be described as the most eloquent “thanks, but no thanks” letter of 2025, Sherald didn’t mince words when addressing Smithsonian Secretary Lonnie G. Bunch III. Her message cut straight to the bone: what started as a good-faith collaboration crumbled under the weight of institutional anxiety and political pressure.
The Smithsonian’s response? Well… let’s just say their carefully crafted statement about fostering “greater and shared understanding” reads like it was workshopped by a committee of nervous lawyers. Not exactly profiles in courage.
Meanwhile, across town (metaphorically speaking), another American institution is taking a dramatically different approach to public engagement. The Ryder Cup at Bethpage Black is transforming into something that sounds suspiciously like a golf tournament crossed with a rock festival — minus the crowd surfing, presumably.
Picture this: 25,000 fans descending before sunrise, creating what organizers are breathlessly promoting as “the loudest opening shot in Ryder Cup history.” It’s almost comical how one American institution retreats while another gleefully embraces spectacle.
The timing couldn’t be more pointed. As art spaces navigate increasingly treacherous political waters, sports venues are supersizing their ambitions. Championship director Bryan Karns isn’t wrong when he notes the unprecedented demand — though one might wonder about the implications of these shifting cultural priorities.
Recent changes at the Smithsonian — from dismantling its Office of Diversity to the departure of key figures like National Portrait Gallery director Kim Sajet — paint a troubling picture. White House staffer Lindsey Halligan’s description of these changes as a “principled and necessary step” feels about as convincing as a three-dollar bill.
Perhaps the most telling aspect of this cultural moment isn’t what’s being shown or celebrated, but what’s being hidden away. As thousands prepare to cheer golf shots into the morning mist, somewhere in a quiet storage room, artworks that challenge and provoke gather dust — waiting for a different kind of courage to prevail.
The contrast is stark, almost painfully so. While some venues prepare to welcome hundreds of thousands for athletic spectacle, others are quietly calculating which voices they can afford to amplify — and which they’ll allow to fade into silence. Welcome to 2025’s version of American culture, where the volume of the crowd sometimes drowns out the whispers of conscience.
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