Amy Sherald, the artist who created the official portrait of former First Lady Michelle Obama, has withdrawn her solo exhibition from the Smithsonian National Portrait Gallery. The decision follows a disagreement with the museum over the display of her controversial artwork, ‘Trans Forming Liberty,’ which portrays the Statue of Liberty as a transgender woman. Sherald claims the gallery sought to alter or remove the piece to avoid offending President Donald Trump, citing institutional fear and a broader climate of political hostility toward trans issues.
The National Portrait Gallery, which currently houses Sherald’s Obama portrait, is known for its role in preserving and showcasing significant American art. However, Sherald’s withdrawal from the museum comes amid a series of tensions between the art world and political figures, including Trump’s recent executive orders targeting institutions perceived to promote leftist ideology. The artist’s decision to pull her exhibition highlights ongoing debates about free expression, political censorship, and the role of public institutions in shaping cultural narratives.
Sherald’s previous work, the Obama portrait, sparked controversy when it was unveiled in 2018. Critics accused the piece of being too abstract and not resembling the former First Lady. Despite the backlash, the artwork remains a celebrated symbol of modern portraiture. Her latest piece, ‘Trans Forming Liberty,’ continues this trend of challenging traditional representations of iconic symbols, this time through a transgender lens.
The Smithsonian’s response to Sherald’s withdrawal reflected mixed sentiments. While expressing disappointment over the loss of the exhibition, the institution acknowledged the complexity of the issue, stating that an alternative plan to contextualize the artwork with accompanying video was not to replace it. However, the artist, citing concerns over the proposed video content, chose to withdraw her show, emphasizing her commitment to the integrity of her original vision.
As the situation unfolds, it remains to be seen how the broader cultural and political landscape will shape similar artistic expressions in public spaces. Sherald’s choice to withdraw her exhibition underscores the ongoing tensions between artistic freedom, political influence, and institutional priorities in the arts.