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In scathing report, White House accuses Smithsonian of presenting ‘a radical view of American history’

A Smithsonian Institution sign is seen on the National Air and Space Museum on the National Mall on March 28, 2025 in Washington, DC. (Kevin Dietsch/Getty Images)

(WASHINGTON) — The White House released a scathing 162-page report accusing the Smithsonian Institution of engaging in “extreme political activism” and presenting “a radical view of American history.”

The report, which was published on Saturday, July 4, particularly took aim at the Smithsonian’s National Museum of American History (NMAH), accusing its leadership of adopting “an ideological framework that no longer treats the American story as a shared national inheritance to be taught or celebrated, but as a political instrument to divide, dispirit, and discourage our citizens.”

The report accuses the museum of “anti-White activism,” “illegal alien activism,” and “transgender activism.” It also includes many photos of materials the White House has identified as problematic.

Asked about the report, a spokesperson for the Smithsonian, which oversees 21 museums, galleries and the national zoo, told ABC News that the institution remains committed to impartial learning.

“For more than 180 years, the Smithsonian has served the American public with nonpartisan and independent scholarship, and we remain committed to doing so,” the spokesperson said on Sunday.

In his most recent public comments, Smithsonian Secretary Lonnie Bunch told NBC’s “Meet the Press” in an interview that aired Sunday morning that the institution is “in pursuit of the promise of America.”

The report, which was published by the White House’s Domestic Policy Council, comes amid an ongoing White House review of the Smithsonian as well as a separate internal review launched by the Smithsonian into its own exhibits and processes. Asked about the status of the internal review, a spokesperson for the Smithsonian did not comment.

The White House review was launched in response to President Donald Trump’s March 27, 2025 executive order, “Restoring Truth and Sanity to American History.”

The executive order directed Vice President J.D. Vance, in consultation with the president’s advisers on domestic policy, “to remove improper ideology” from Smithsonian institutions, arguing that materials that cast America in a “negative light” have no place in federal cultural institutions.

“The serious concerns raised in this report are not about a few exhibits or a few controversial labels,” the report says. “As it stands today, it would benefit most Americans, especially parents bringing their children for a tour, if the Smithsonian’s flagship history museum had a label at every entrance that reads: ‘Warning: the exhibits in this museum were prepared by people who don’t want you to love your country.'”

What’s in the report?

The report includes dozens of examples of exhibits and materials in exhibits that the White House has determined to be examples of “radical activism.”

For instance, the report highlights an exhibit titled “Many Voices, One Nation,” and claims that its contents attempt “to instill within visitors its belief that migration and immigration, including the granting of citizenship to illegal aliens, is a defining modern-day civil rights and human liberty issue.”

The report also takes issue with displays about transgender people, including an exhibit titled “Girlhood” that profiled transgender media personality and LGBTQ+ rights advocate Jazz Jennings.

“One of the clearest examples of NMAH’s radical ideology is its refusal to correctly identify or define what a woman is,” the report states — reinforcing language from Trump’s January 2025 executive order, which outlined that this administration’s policy would be to “recognize two sexes, male and female” based on biology.

Overall, the report takes issue with materials addressing “white supremacy,” “racism” and the country’s history of “slavery,” “conquest” and “exclusion.”

The report claims that the museum fails to substantially represent the founders of the United States and that the exhibits cast America as “a problematic country irredeemably conceived, founded by deeply flawed men, and still operating today as an instrument of systemic racism and oppression.”

Sarah Weicksel, executive director of the American Historical Association, previously told ABC News that the White House is seeking to create “a narrowly sanitized version of the American past” at federal cultural institutions “that fits comfortably” into Trump’s executive order.

The American Historical Association (AHC), which represents 10,000 historians across various educational and cultural institutions in the U.S., has publicly defended the Smithsonian and urged the White House to “respect and value the expertise of the historians, curators, and other museum professionals who conduct the review and revision of historical content according to the professional standards of our discipline.”

ABC News reached out to AHA for further comment.

What comes next?

The report does not specify action points related to correcting the so-called “activism,” but does reference the fact that the Smithsonian Institution is largely funded by the federal government and U.S. taxpayers.

“That means the public has a right to expect that it will operate as a faithful steward of the Nation’s historic and cultural heritage, not as a vehicle for ideological campaigns,” the report says.

According to the Smithsonian Institution, which oversees 21 museums and galleries and the national zoo, it currently receives more than $1 billion in federal funding — about 62% of its funding — and the remainder of the funds come from “trust funds or non-federal funds, including contributions from private sources” and revenues from Smithsonian enterprises.

Bunch has been leading the Smithsonian since 2019 but the institution is overseen by a 17-member governing body, known as the Board of Regents. Bunch, who met with Trump at the White House on Aug. 28, 2025, repeatedly affirmed the Smithsonian’s “independence” from political influence.

Referencing his conversations with Trump in a Sept. 3, 2025 letter to the institution’s employees, Bunch underscored the independence of the Smithsonian, saying it was “paramount.” He also told employees that the institution remains committed to telling the “American story” and “will always be, a place that welcomes all Americans and the world.”

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This artist’s most-used tool isn’t a paintbrush — it’s a pair of sneakers

Beijing/Hong Kong (CNN) — In the top corner, there’s a very small Star of David. On the center right side, the number 51. Near the center, a pentagon. Squint and you might notice a teeny-tiny series of music notes amid a busy grid. And, wait, is that the US Capitol missing its dome?British artist Gareth Fuller doesn’t make the kinds of maps you’d find in an atlas. They’re not done to scale and don’t include street names. He calls them “mind maps,” and they’re his artistic representations of time spent walking around and exploring cities — in this case, Washington, DC.In an age of Google Maps, with many using their phones to navigate new places, Fuller believes people have lost their sense of discovery. That’s why he began doing these large-scale pen and ink drawings, which he calls his “personal geography.”In his DC work, there’s an itsy-bitsy PBS logo, because the broadcaster has its headquarters in the nation’s capital. There’s also a pattern inspired by the trademark breezeblock ceilings of the DC metro system, flowers to represent the National Arboretum, and the Potomac River cutting through it all. That number 51? It’s a shoutout to the movement that wants to make the District of Columbia into the 51st state.You could stare at these mind maps all day and still not catch every detail— which is exactly how Fuller wants it. For each of his drawings, he spends months or even years exploring cities as much as he can on foot. And, he explains, the maps don’t just incorporate what he sees – they build on anecdotes, random conversations and human experiences that happen along the way. They’re also not very helpful if you need an actual map – the Pentagon, for example, is out in the Virginia suburbs, not in DC proper.“The maps are very much a kind of emotional portrayal of the place,” Fuller says. “It’s a real privilege to be an artist in that respect. People are quite warm to tell you about where they live, and what’s important to them, and their personal stories, and where they’ve come from. The conversation can go in all sorts of ways.”Fuller says his love of wayfinding began in childhood. Raised in rural Wales, he joined the Boy Scouts and learned how to use a compass and flashlight to find his way home without a map. Moving to London as an adult, he got to know the frantic, wiry place on foot. As he became interested in art, he began to see his doodles of places as “problem-solving with ink and lines.”But it was a move to China where Fuller’s work truly blossomed.One of Fuller’s friends was studying in Beijing, so Fuller packed up his bicycle, crashed at his friend’s apartment and tried to learn Mandarin.The result of the year spent off and on in the capital inspired his largest work to date. The Beijing map is littered with fountains, pagodas, power plants, building cranes, and flowers. There are hutongs, the famous side streets where everyday life happens in Beijing, alongside mega-skyscrapers. The central motif is a piece of the Great Wall, snaking through the map like a snake, with bicycles on top – intentional, as Fuller got to know the city while riding around on two wheels.“Coming from somewhere like London, and then coming to somewhere like China, and seeing a Chinese city function, and at the cusp of quite mod ideas in terms of the smart city and things like this, and it was just the cultural aspect. I was just kind of dumped upside down. I don’t want to sort of fetishize Chinese culture, but as a Westerner, it was a huge education. It was exciting.”The person most affected by Fuller’s artwork is, of course, Fuller himself. He has relocated to China permanently, gotten married and become a dad. His current works-in-progress are viewed through the lens of a toddler as much as they are from an adult man.If you try to use Fuller’s “Beijing” as a map to Beijing, it won’t help you get around. But if you use it as an emotional pathway to understand a large, complicated and dynamic place, it might help you get to know the city as a friend. Perhaps you’ll get an entirely different city than the one he visited, one personalized to your own random encounters and accidental discoveries.“We’ve always done this, as humans,” Fuller says. “We will navigate our way through towns, cities, villages, and we will talk and seek shelter with each other and trust.”Fuller’s work will soon come to the US for an exhibit at Stony Brook University in upstate New York. Walking the World: Gareth Fuller’s Art of Place will run from September 9 to December 18 at the college’s Skylight Gallery.The-CNN-Wire™ & © 2026 Cable News Network, Inc., a Warner Bros. Discovery Company. All rights reserved.
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