Museums exchange dinosaurs for climate activism as political messaging continues

On a recently suffocating day, I found myself needing an internal activity for me and my six children. Living near the capital of the nation has its advantages, the main among them, the Smithsonian museums. So, we headed to DC for a dose of air conditioning and culture.

When we entered, we were received by a relic of the Pandemic era: a list of “recommended” health and safety measures such as masking, social distancing and disinfecting, directly from 2021, when museums finally reopened after more than a year of Covid-19 closures.

Our 4 -year -old chosen fate: the National Museum of Natural History of Smithsonian, specifically to see the dinosaur bones and dioramas. But we quickly got more than we negotiated. A large section of the exhibition is not dedicated to the asteroid that annihilated the dinosaurs, but to Climate change

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This was not surprising. We have come to wait for an ideological challenge in the Smithsonians. In the National Zoo, it often feels like for each exhibition on the habitat or diet of an animal, there is a parallel warning that it will be extinguished due to climate change.

“Hello children, enjoying the zebra? Great, because it will probably not do it, thanks to your parents’ SUV.”

In the Natural History Museum, the message is equally serious, except this time, humans are endangered species. An exhibition says: “Since the last ice age, the climate of the earth has warmed up. But now that warming is becoming faster due to us.”

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The message is clear: “I hope you liked the bones of dinosaurs, children, because we could be the next.”

But climate change is not the only narrative on display.

In the National Museum of History of the United States, visitors get a large dose of Diversity, equity and inclusion (DEI). Despite the 250th anniversary of the United States Foundation, there were no display or visible events that celebrated the milestone. In the week prior to July 4, the museum’s home page highlighted four characteristics: a lunch counter, female suffrage, a black firefighter of the nineteenth century and a community center for pregnant Latin immigrants. The Smithsonian did not answer the questions about the deadline.

As a historian told me, “the exhibition of popular culture on the second floor, probably the most popular in the museum, is a Marxist struggle session. Each exhibition is interpreted through a racial class gender lens.”

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This pattern is not limited to the Smithsonian system. Two years ago, at the Hirshhorn Museum, my children collected a book for children entitled “My way: celebrating gender freedom for children.” One page says: “They may be both … it may not be any!” Another shows a naked child looking at a clothesline with the legend: “Your truth is not hidden under your clothes.”

Even museums outside the capital, many of which still receive federal funds, are echoing the same issues. During a recent visit to Chrysler Art Museum In Norfolk, Virginia, we expected to see paintings and sculptures. Instead, my children were attracted to an exhibition full of video screens entitled “Jamestown is sinking.”

According to the exhibition description: “In the photographic series, Jamestown is sinking and the installation of videos, the interpreters, Greta Pratt explores the relationship between climate change and colonialism in the Tidewater region of Virginia … convincing viewers to examine how colonialization, stimulated by capitalist interests, has drastically altered the natural environment.”

In other words: climate change, colonialism, capitalism – bingo of fashion words in a single art exhibition.

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Although the Chrysler Museum is not funded exclusively for taxpayers dollars, it has received $ 1.2 million in federal subsidies throughout the years of agencies such as the Museum and Library Services Institute.

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What raises the obvious question: Why do our tax dollars subscribe to this?

Erik H. Neil, director of Macon and Joan Brock at the Chrysler Museum, defended the exhibition: “We are honored to exhibit the work of Greta Pratt, a famous local artist and recent receptor of a Guggenheim fellow of Guggenheim. Civic speech, and we continue to present a wide spectrum of views without limiting the artistic expression.”

There is a ray of hope. In the Kennedy center, Richard Grenelll has begun Cleaning House, with the aim of ensuring that art financed with public funds is about art, not indoctrination. It is a change for a long time that could mark a turning point.

As a historian told me, “the exhibition of popular culture on the second floor, probably the most popular in the museum, is a Marxist struggle session. Each exhibition is interpreted through a racial class gender lens.”

And it seems that the problem is already in the radar of the administration. Earl this month, the Wall Street Journal reported that the Smithsonian is experiencing a radical review of all contained in its 21 museums and zoos to eliminate political bias. According to internal documents, the decision was produced during a meeting of the Regent Board of closed doors on June 9. The review follows the executive order of President Donald Trump that demands the elimination of “inappropriate, divisive or anti -American ideology” and the restoration of exhibitions that reflect “US and Western values.”

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Since more than 30 million visitors are expected to descend in Washington, DC for the semi -snack of the nation next year, the clock is marking. If nothing changes, they will enter the museum in the history of the United States and will not leave with a celebration of our foundation, but with a guilt trip.

Time is of the essence.

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