Amy Sherald — the artist who rocketed to fame with her 2018 portrait of Michelle Obama — has withdrawn her upcoming solo show from the Smithsonian’s National Portrait Gallery because she said she had been told the museum was considering removing her painting depicting a transgender Statue of Liberty to avoid provoking President Trump.
“American Sublime,” set to arrive at the museum in September, is a much heralded exhibition of works by Ms. Sherald and would have been the first by a Black contemporary artist at the Portrait Gallery. She is particularly known for her sensitive, serene portraits, which led to her selection by Ms. Obama. Some of her work, such as her transgender Statue of Liberty, has also been fueled by social concerns.
“I entered into this collaboration in good faith, believing that the institution shared a commitment to presenting work that reflects the full, complex truth of American life,” the artist said in a letter sent on Wednesday to Lonnie G. Bunch III, the secretary of the Smithsonian, which runs the Portrait Gallery. “Unfortunately, it has become clear that the conditions no longer support the integrity of the work as conceived.’’
Ms. Sherald in a statement said she had been “informed that internal concerns had been raised” at the Portrait Gallery regarding the inclusion of her painting, “Trans Forming Liberty,” which features a transgender woman holding a torch in the posture of the Statue of Liberty.
“These concerns led to discussions about removing the work from the exhibition,” her statement said. “It’s clear that institutional fear shaped by a broader climate of political hostility toward trans lives played a role.”
Ms. Sherald said that Mr. Bunch on Monday had proposed replacing the painting with a video of people reacting to the painting and discussing transgender issues, an idea she rejected because she said it would have included anti-trans views. “When I understood a video would replace the painting, I decided to cancel,” she said. “The video would have opened up for debate the value of trans visibility and I was opposed to that being a part of the ‘American Sublime’ narrative.”
Asked to respond, the Smithsonian did not address Ms. Sherald’s version of events, but said in a statement: “While we understand Amy’s decision to withdraw her show from the National Portrait Gallery, we are disappointed that Smithsonian audiences will not have an opportunity to experience ‘American Sublime.’
“The Smithsonian strives to foster a greater and shared understanding,” the statement continued. “By presenting and contextualizing art, the Smithsonian aims to inspire, challenge and impact audiences in meaningful and thoughtful ways. Unfortunately, we could not come to an agreement with the artist. We remain appreciative and inspired by Ms. Sherald, her artwork and commitment to portraiture.”
The Smithsonian has been under scrutiny by President Trump who in March issued an executive order that asserted that the country had “witnessed a concerted and widespread effort to rewrite our nation’s history” by the institution. He argued that the Smithsonian had “in recent years, come under the influence of a divisive, race-centered ideology.”
The administration’s review has been particularly focused on the Portrait Gallery and in May, Mr. Trump announced on social media that he was firing its director, Kim Sajet, for what the White House characterized as being partisan and “a strong supporter of D.E.I.”
The Smithsonian subsequently released a statement and a resolution by its board that reasserted its independent authority over personnel. But the resolution also emphasized the institution’s commitment to reviewing exhibition content for bias.
Ms. Sajet resigned several weeks later, saying, “Together, we have worked to tell a fuller, more American story — one that fosters connection, reflection and understanding.”
In her letter, Ms. Sherald said: “Portraiture has always been my way of asserting presence — of creating visibility where there has too often been erasure.” She continued. “When that visibility is compromised, even subtly, it alters not only the artwork, but the message it carries. I cannot consent to that.”
Asked to respond, Mr. Bunch said in a statement on Thursday “TK.”
Featuring about 50 works, the exhibition, “Amy Sherald: American Sublime” is the largest, most comprehensive presentation of the artist’s work to date. The show was organized by the San Francisco Museum of Modern Art, where it first opened last year before moving to the Whitney Museum, where it is currently on view through Aug. 10. It was set to open at the Portrait Gallery on Sept. 19.
Ms. Sherald’s decision comes at a time when the Smithsonian has been grappling with how to respond to President Trump’s assertions that its exhibitions have insufficiently celebrated the country and excessively emphasized issues of diversity. The institution manages a portfolio of 21 museums, plus libraries, research centers and the National Zoo. As noted in the resolution it adopted in June, the Smithsonian has asked the directors of its member organizations to review their content for any bias.
The June 9 resolution from the Smithsonian’s Board of Regents stated: “To reinforce our nonpartisan stature, the Board of Regents has directed the Secretary to articulate specific expectations to museum directors and staff regarding content in Smithsonian museums, give directors reasonable time to make any needed changes to ensure unbiased content, and to report back to the Board on progress and any needed personnel changes based on success or lack thereof in making the needed changes.”
The Trump administration also criticized the content of the John F. Kennedy Center for the Performing Arts, where the President in February installed himself as chairman, for what he has called “woke” influences, drag shows and “anti-American propaganda.” Republicans are now seeking to rename the Opera House after the first lady, Melania Trump.
The scrutiny has raised the level of caution among some arts organizations, who want to avoid ending up in the cross hairs of the Trump administration, particularly if they benefit from federal funds that help attract essential private dollars.
Ms. Sherald has been open about her activism. One of her works is a portrait of Breonna Taylor, whose death helped galvanize national protests against police violence. The painting is now jointly owned by the Smithsonian’s National Museum of African American History and Culture in Washington and by the Speed Museum in Louisville, Ky.
Another work, “For Love, and For Country,” features two men embracing in the posture of Alfred Eisenstaedt’s photo of a sailor kissing a female nurse on V-J Day in Times Square. Ms. Sherald has described the image as a contribution to conversations around the military and sexuality.
Both are in the show at the Whitney that had been scheduled to travel to the Smithsonian.
In explaining her decision to withdraw from the exhibition, Ms. Sherald said in her statement, “I cannot in good conscience comply with a culture of censorship, especially when it targets vulnerable communities.”
“At a time when transgender people are being legislated against, silenced, and endangered across our nation,” she added, “silence is not an option.”
Robin Pogrebin, who has been a reporter for The Times for 30 years, covers arts and culture.
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