Bold Resistance or Missed Opportunity? Amy Sherald Exhibition Controversy

Was the Amy Sherald exhibition controversy with the Smithsonian National Portrait Gallery over the cancellation of American Sublime a powerful act of resistance or a missed opportunity?

BY KAZEEM ADELEKE, ARTCENTRON

WASHINGTON D.C.-The cancellation of Amy Sherald’s landmark exhibition at the Smithsonian National Portrait Gallery isn’t just a story about a single artist—it’s a mirror reflecting the deep-seated issues that still haunt America’s most revered cultural institutions. Was this a bold act of resistance or a lost chance for overdue recognition?

In recent months, I have written extensively about Amy Sherald’s decision to pull her show. As controversial as the decision is, one statement continues to weigh heavily on me: “American Sublime” would have marked the first solo show by a contemporary Black artist at the National Portrait Gallery. I cannot shake the gravity of that fact. How is it that only now—decades after the gallery’s founding—would a contemporary Black artist be given this platform for a solo exhibition? The question lingers, demanding reflection on both the artist’s decision and the institution’s legacy.

The National Portrait Gallery: Curating Power, Shaping Memory

The Smithsonian’s National Portrait Gallery (NPG), established in 1962, tells the story of the United States through portraits. It focuses on elevating the lives of prominent figures, from presidents to iconic leaders. Historically, the NPG has been a cultural gatekeeper, shaping a canonical view of national identity. Its exhibitions are often rare and reserved, reinforcing traditional narratives. This curatorial approach has long been criticized for its lack of diversity. Critics argue it presents an incomplete and skewed picture of American life and history. This context is essential to understanding the significance of the Amy Sherald exhibition.

A Critical Gap: The Absence of Black Contemporary Art

The fact that Amy Sherald’s “American Sublime” would have been the first solo show by a contemporary Black artist at the NPG is a stark revelation. Artists like Kehinde Wiley, Faith Ringgold, and Jacob Lawrence have profoundly influenced American art. Yet, they have not received this level of institutional validation. Systemic biases in curatorial practices and art acquisitions have historically excluded Black voices. Addressing this omission is not just about curating a new show. It’s about correcting a distorted national narrative. It’s about rectifying who is seen and remembered. Amy Sherald‘s work directly confronts this.

Amy Sherald Exhibition Controversy: Censorship and Power

The exhibition “American Sublime” was poised to be Amy Sherald’s most significant museum survey to date. It was organized by the San Francisco Museum of Modern Art and the Whitney Museum of American Art. The show featured works from 2007 to the present, including her celebrated portraits of Michelle Obama and Breonna Taylor. The title “American Sublime” reinterprets the romantic art tradition of grand landscapes. It reimagines it through the lens of Black identity and portraiture. Amy Sherald’s paintings center on the dignity and humanity of her subjects, and they redefine American iconography.

The cancellation of the Amy Sherald exhibition was not a simple disagreement. It was a stand on principle. The NPG expressed internal concerns about one specific painting: Trans Forming Liberty (2024). This painting depicts the Statue of Liberty as a transgender woman. According to Sherald, the museum discussed removing the work. Smithsonian Secretary Lonnie Bunch III later suggested replacing the painting with a video of public reactions. However, Amy Sherald saw this as an act of censorship.

In her statement, Amy Sherald said, “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. Unfortunately, it has become clear that the conditions no longer support the integrity of the work as conceived.” The Smithsonian, meanwhile, said the video would help “contextualize” the work. They expressed disappointment that they “could not come to an agreement” with Amy Sherald.

Bold Resistance or Missed Opportunity?

Amy Sherald’s decision ignited a powerful debate. Was it a moment of bold resistance or a missed opportunity? On one hand, her refusal to compromise was a powerful act. She denied the institution the ability to dilute her work’s message. This action forces a reckoning with institutional gatekeeping. It spotlights the exact systemic issues her art seeks to correct.

Conversely, some critics argue the cancellation was a missed chance. It could have been a landmark institutional affirmation of Black contemporary art. Yet, Amy Sherald’s move highlights a deeper truth. Visibility without integrity can reinforce the same inequities it claims to fix. In her refusal, there lies a radical power.

The fallout from the Amy Sherald controversy was significant. Unfortunately, the Smithsonian has not announced major institutional reforms. Their cautious response underscores the need for deeper systemic change. For other artists of color, this event is a warning. Institutional access might still come with unacceptable compromises.

However, the Amy Sherald exhibition controversy with the National Portrait Gallery may have a positive side. The incident has only elevated Amy Sherald’s standing as an artist of principle. For the public, the loss of “American Sublime” is disappointing. However, it has also increased awareness of how representation can be constrained. The controversy shows that institutions often hesitate to genuinely embrace inclusive storytelling. Amy Sherald’s courageous act is a stark reminder of these challenges.

The Future of Representation and Equity

The path forward for the NPG and similar institutions is clear. They must do more than just showcase a single landmark exhibition. They need to integrate diverse perspectives into their core mission. Tangible actions could include partnering with Black and queer curators. In addition, they must also actively acquire contemporary art by underrepresented artists. Institutions should create transparent pathways for solo exhibitions and move beyond token gestures.

Audiences also have power. Sustained public pressure and advocacy are crucial. These actions can push institutions to shed their fear. They must genuinely embrace inclusive portraiture. Amy Sherald’s withdrawal of “American Sublime” is more than a canceled show. It is a mirror held up to institutional inertia. It compels us to ask: Who gets to be memorialized in the halls of power? The answer lies in a collective commitment to creating space, ensuring integrity, and having the courage to fight for both.