Biased: YES, The Smithsonian IS Out Of Control!

President Donald J. Trump is right: the Smithsonian Institution is out of control. As it increasingly prioritizes exhibits that undermine our values and rewrite the American story through a lens of grievance and exclusion, the Smithsonian’s embrace of woke ideology distorts history and erodes public trust.   Here are some of the many, many examples:

The National Museum of African American History and Culture debuted a series to educate people on “a society that privileges white people and whiteness” — defining so-called “white dominant culture“ as “ways white people and their traditions, attitudes, and ways of life have been normalized over time” and portraying “the nuclear family,” “work ethic,” and “intellect” as white qualities rooted in racism. The campaign featured content from hardcore woke activist Ibram X. Kendi.

As part of its campaign to stop being “wealthy, pale, and male,” the National Portrait Gallery featured a choreographed “modern dance performance“ detailing the “ramifications“ of the southern border wall and commissioned an entire series to examine “American portraiture and institutional history… through the lens of historical exclusion.”   The American History Museum prominently displays the “Intersex-Inclusive Progress Pride flag” at its entrance, which was also flown alongside the American flag at multiple Smithsonian campuses.

The National Portrait Gallery features art commemorating the act of illegally crossing the “inclusive and exclusionary” southern border — even making it a finalist for one of its awards.

The National Museum of African Art displayed an exhibit on “works of speculative fiction that bring to life an immersive, feminist and sacred aquatopia inspired by the legend of Drexciya,” an “underwater kingdom populated by the children of pregnant women who had been thrown overboard or jumped into the ocean during the Middle Passage.”   The American History Museum’s “LGBTQ+ History” exhibit seeks to “understand evolving and overlapping identities such as lesbian, gay, bi-sexual, transgender, queer, transsexual, transvestite, mahu, homosexual, fluid, invert, urning, third sex, two sex, gender-bender, sapphist, hijra, friend of Dorothy, drag queen/king, and many other experiences,” and includes articles on “LGBTQ+ inclusion and skateboarding“ and “the rise of drag ball culture in the 1920s.”   The National Museum of the American Latino features programming highlighting “animated Latinos and Latinas with disabilities” — with content from “a disabled, plus-sized actress” and an “ambulatory wheelchair user” who “educates on their identity being Latinx, LGBTQ+, and disabled.”

The National Museum of the American Latino characterizes the Texas Revolution as a “massive defense of slavery waged by ‘white Anglo Saxon’ settlers against anti-slavery Mexicans fighting for freedom, not a Texan war of independence from Mexico,” and frames the Mexican-American War as “the North American invasion” that was “unprovoked and motivated by pro-slavery politicians.”   According to the National Museum of the American Latino, “what unites Latinas and Latinos“ is “the Black Lives Matter movement.”

The National Portrait Gallery commissioned a “stop-motion drawing animation” that “examines the career“ of Anthony Fauci.

The American History Museum’s exhibit marking the 50th anniversary of Title IX includes biological men competing in women’s sports and argues in favor of “transgender” athletes competing in sports against the opposite biological sex.   A exhibit at the American History Museum depicts migrants watching Independence Day fireworks “through an opening in the U.S.-Mexico border wall” and says America’s founders “feared non-White immigration.”

The American History Museum features a display that refers to the founding of America as “a profound unsettling of the continent.”   The American History Museum’s “American Democracy” exhibit claims voter integrity measures are “attempts to minimize the political power” of “new and diverse groups of Americans,” while its section on “demonstrations” includes only leftist causes.   An American History Museum exhibit features a depiction of the Statue of Liberty “holding a tomato in her right hand instead of a torch, and a basket of tomatoes in her left hand instead of a tablet.”

The National Museum of the American Latino features an anti-American exhibit that defines Latino history as centuries of victimhood and exploitation, suggests the U.S. is stolen land, and characterizes U.S. history as rooted in “colonization.” The exhibit features writing from illegal immigrants “fighting to belong.” The exhibit displays a quote from Claudia de la Cruz, the socialist nominee for president and a director an anti-American hate group, as well as another quote that reads, “We didn’t cross the border; the border crossed us.” The exhibit remains prominently featured on its website alongside a quote from the Communist Party USA’s Angela Davis, who was once among the FBI’s Top 10 Most Wanted Fugitives.

The National Museum of the American Latino describes the post-Mexican-American War California describes a “Californio” family losing their land to American “squatters.”   The Museum of American Art uses American sculpture “to invite dialogue and reflection on notions of power and identity.”   The American History Museum’s “Upending 1620” exhibit claims Pilgrims are a “myth,” instead framing them as colonizers.   The American History Museum’s exhibit about Benjamin Franklin focuses almost solely on slavery, directing visitors to learn more about his “electrical experiments and the enslaved people of his household,” noting his “scientific accomplishments were enabled by the social and economic system he worked within.”   The National Portrait Gallery was set to feature a “painting depicting a transgender Statue of Liberty” before the artist withdrew it.

The former interim director of the future Smithsonian American Women’s History Museum declared the museum will be “inclusive” of biological men posing as women.