Native American artist Nicholas Galanin has withdrawn from a scheduled symposium at the Smithsonian American Art Museum, citing censorship concerns after being asked not to record or share footage of the event on social media. The symposium is connected to the museum's exhibition "The Shape of Power: Stories of Race and American Sculpture," which has become a focal point of political controversy following criticism from the Trump administration.

The exhibition in question was specifically targeted in a Trump executive order earlier this year that accused Smithsonian museums of being influenced by what he termed "a divisive, race-centered ideology." In the executive order, Trump criticized the exhibition for promoting the view that "race is not a biological reality but a social construct." This political pressure has created a challenging environment for museums trying to present inclusive narratives about American history and art.

"The Shape of Power" features sculptural works created by diverse artists spanning from 1792 to 2023, with particular attention to issues of race and representation. The exhibition includes a section titled "Classical and the Myth of the White Ideal" and explores how sculpture can tell a more inclusive story of America. According to ARTnews writer Shantay Robinson, the show demonstrates how art created by diverse artists contributes to a broader understanding of American identity and history.

Galanin was scheduled to speak on Saturday as part of a two-day symposium that began recently. The symposium features notable speakers including curator Hamza Walker, artists Titus Kaphar and Miguel Luciano, and critic Aruna D'Souza. However, the event is not publicly listed on the Smithsonian's website and operates with a curated guest list, which has raised questions about accessibility and transparency.

In an Instagram post explaining his decision, Galanin wrote that "the decision to make the symposium a private event with a curated guest list and request that we not record or share it on social media effectively censors those of us who would be participating." He acknowledged the difficult position of the curators and organizers, stating that he appreciates they "have been put into a challenging position due to the government review of the Smithsonian and its programming, attempting to silence and erase any content not approved of by the current administration."

The Smithsonian American Art Museum has denied any allegations of censorship. A museum spokesperson explained that "because not all participants consented to being recorded, the decision was made not to document in this manner, including on social media." The spokesperson added that while they are "disappointed that Nicholas Galanin will not participate in the symposium," they "respect his decision and thank him for his important contributions to this groundbreaking exhibition."

Galanin's 2016 work "The Imaginary Indian (Totem Pole)" is featured in "The Shape of Power" exhibition, demonstrating his ongoing engagement with themes of cultural representation and colonial narratives. The artist has been a vocal advocate for the role of museums in presenting challenging historical truths rather than sanitized versions of the past.

Speaking to The New York Times in March, shortly after Trump's executive order was issued, Galanin emphasized the importance of institutional integrity. He stated, "Museums, monuments, and public institutions should be spaces where these stories are held with care, not suppressed for political convenience." He further argued that "when we interrogate systems of power and challenge historical narratives that center whiteness and colonial dominance, we do not divide, we restore balance."

This incident highlights the broader tensions facing cultural institutions under political pressure to modify or restrict programming that addresses issues of race, colonialism, and social justice. The controversy surrounding the Smithsonian symposium reflects ongoing debates about academic freedom, artistic expression, and the role of public institutions in presenting complex historical narratives that may challenge traditional perspectives on American identity and history.