Shifting Narratives at Major Museums: Climate Change Takes Center Stage Over American Heritage

Shifting Narratives at Major Museums: Climate Change Takes Center Stage Over American Heritage

On a hot day recently, I sought an indoor activity for myself and my six children. Living near the nation’s capital offers benefits, particularly access to renowned Smithsonian museums. We decided to venture into Washington D.C. for some air-conditioned relief and cultural enrichment.

Upon entering, we encountered a remnant from the pandemic era: a sign outlining “recommended” health and safety measures such as masking, social distancing, and sanitizing. These guidelines harkened back to 2021 when the museums finally reopened after more than a year of pandemic-related closures.

Our 4-year-old decided on our destination: the Smithsonian National Museum of Natural History, eager to see the dinosaur bones and dioramas. However, we quickly discovered that a significant portion of the exhibit was not dedicated to the asteroid that led to the dinosaurs’ extinction but to a different topic entirely: climate change.

Environmental Warnings within Exhibits

This revelation did not surprise me. It has become commonplace to encounter ideological messaging at the Smithsonians. At the National Zoo, it often appears that for every exhibit dedicated to an animal’s habitat or diet, there exists a corresponding one warning visitors that these creatures are facing extinction due to climate change.

“Hey kids, enjoy the zebra, but remember — it may not survive, largely due to your parents’ SUV,” I could imagine a similar narrative playing in the background.

At the Natural History Museum, the overarching sentiment is just as alarming — except now, it’s humans who are cast as the endangered species. One exhibit stresses that since the last ice age, Earth’s climate has warmed significantly. Yet, it warns that this warming is accelerating due to human activity.

The message resonates loudly: “Enjoy those dinosaur bones, kids — because humanity might share a similar fate.” 

Limited Celebrations of American Heritage

While climate change narratives dominate the landscape, they are not the sole focus. At the National Museum of American History, visitors receive a hefty dose of diversity, equity, and inclusion narratives. As the 250th anniversary of America’s founding approaches, I noticed a distinct lack of exhibits celebrating this milestone. In the week leading up to the Fourth of July, for instance, the museum’s homepage showcased features about a lunch counter sit-in, women’s suffrage, and notable figures, seemingly overlooking significant historical events.

A Historian’s Perspective

An expert I spoke with remarked, “The popular culture exhibit on the second floor — likely the most frequented in the museum — resembles a climate of Marxist struggle sessions. Each display gets interpreted through a race-class-gender framework.”

Trends Beyond the Smithsonian

This trend is not confined to the Smithsonian system alone. Two years prior, while visiting the Hirshhorn Museum, I found a children’s book titled “My Own Way: Celebrating Gender Freedom For Kids.” One page read, “You may be both… you may be none!” Another showcased a naked child contemplating a clothesline, accompanied by the tagline, “Your truth isn’t hidden underneath your clothes.”

Even museums outside D.C., many still receiving federal funding, echo similar themes. During a recent visit to the Chrysler Museum of Art in Norfolk, Virginia, we hoped to view classic paintings and sculptures. Instead, my kids were drawn towards a display dominated by video screens titled “Jamestown is Sinking.”

The exhibit description explained that, in her works, artist Greta Pratt explores the connections between climate change and colonialism in Virginia’s Tidewater region. The artworks compel viewers to reflect on how colonial activities, driven by capitalist interests, have significantly altered the natural environment.

This equates to a perfect amalgamation of climate change, colonial narratives, and capitalism — a veritable buzzword bingo manifesting in a single art exhibit.

Public Funding Under Scrutiny

Although the Chrysler Museum does not rely solely on taxpayer funding, it has historically received $1.2 million in federal grants from institutions like the Institute of Museum and Library Services. This brings forth an important question: Why do our tax dollars support such exhibitions?

Erik H. Neil, the Macon and Joan Brock Director at the Chrysler Museum, defended the exhibit, stating, “We’re honored to showcase the work of Greta Pratt, a respected local artist who recently earned a Guggenheim Fellowship. The Chrysler Museum of Art is committed to fostering creativity and nurturing civic discourse through diverse artistic expressions.”

A Potential Shift in Perspective

Amid this landscape, there exists a glimmer of hope. At the Kennedy Center, Richard Grenell has initiated a reevaluation of programming, striving to direct publicly funded art back towards its core purpose — artistic expression rather than ideological indoctrination. This realignment signifies a potentially pivotal shift.

The matter appears to be catching the eye of relevant authorities as well. Recent reports have indicated that the Smithsonian is undertaking a comprehensive review of content across its 21 museums and zoo to eliminate political bias. This decision reportedly arose during a closed-door meeting of the Board of Regents on June 9. The review aligns with President Donald Trump’s executive order issued in March, which called for the removal of potentially harmful, divisive, or anti-American content.

The Urgency of Change

With over 30 million visitors expected in Washington, D.C. for the nation’s Semiquincentennial next year, action must be taken promptly. If current trends persist, visitors may enter the Museum of American History and exit feeling not a sense of pride in our national origins, but rather a burden of guilt.

In this precarious climate, the need for a transformation is urgent.