Kelsey Ables

Donald Trump has not forgotten his midsummer promise to publicly shame the Smithsonian. The Trump administration is currently preparing temporary signs that will accuse the National Museum of American History of ideological bias, according to a letter I obtained sent by Interior Secretary Doug Burgum. The September 3 letter, which Burgum sent to Senator Jeff Merkley, says that the National Park Service is planning to add about a dozen signs outside the museum at an estimated cost of $84,000.

This story was updated at 6:12 p.m. ET on September 8, 2026.
Smithsonian Secretary Lonnie Bunch plans to retire from the institution at the end of this year, bringing to a close a tenure marked by unprecedented pressure on the museum complex from a White House keen on controlling how to tell the nation’s history.

Incensed by the Smithsonian but lacking immediate power to do anything about it, Donald Trump has resorted to trolling the world’s largest museum complex from the sidewalk. In an executive order posted this afternoon, the president directed the Department of the Interior to place signs outside the National Museum of American History warning passersby about “ideological capture” and detailing the findings of his administration’s recent, quickly contested report on the museum.

The nation’s most scrutinized museum director showed up to Congress this week acutely aware of her audience. Anthea Hartig, the head of the Smithsonian’s National Museum of American History, referred to the institution as “your” museum. She emphatically affirmed her love of this country. She even cited her family’s Revolutionary War roots.

The buff George Washington statue in the National Museum of American History speaks for itself. Taking in the washboard abs and determined expression of the 1840 work by Horatio Greenough, a visitor would be hard-pressed to see anything but a Founding Father rendered as a Greek god. Yet in a searing 162-page report on the Smithsonian museum released on July 4, the Trump administration takes issue with the lack of patriotism in even this exhibit.

When David Hockney in the 1960s turned his attention to a photograph of a splash-splattered swimming pool, he did what most of us today, immersed in an endless stream of digital images, do not. He kept looking.
For two weeks, the artist worked tirelessly from the photo to perfect his rendition in his acrylic painting A Bigger Splash, of the dancing droplets that erupted when some long-forgotten swimmer threw themselves into the deep end. The splash ended in an instant.

On a recent morning at Chicago’s new Obama Presidential Center, the institution’s leadership discussed presidential papers the way a decluttering convert might talk about some old sweaters they tossed because they did not spark joy.
The campus contains many features sure to delight the misty-eyed visitors who will flock here once it opens, on June 19: a museum that can come across like a pep talk from a more hopeful time; a light-filled basketball court; a whimsical playground; a public library.

Ever since President Trump started playing armchair museum curator last year, the White House has employed a number of strategies to try to influence exhibitions at the Smithsonian. It has sent threatening letters, published a memo that reads like an exhibit hit list, and even resorted to an occasional bit of online trolling.

Winning a grant from the National Endowment for the Humanities can take months of preparation and can require multiple attempts. So last year, when DOGE officials with no humanities experience yanked the funds of hundreds of grantees using little more than a chatbot and a haphazard search for terms such as BIPOC and gay, it stung.