'Crotch harness' in the Capital: How Trump just weaponized the Smithsonian
In November 2021, the Smithsonian’s National Museum of American History opened an exhibit called “The Electric Dr. Franklin,” describing “Benjamin Franklin’s pioneering contributions to electrical science.” The exhibit explained that, prior to becoming an abolitionist, he had enslaved people in his household. “Benjamin Franklin’s remarkable scientific accomplishments were, in part, enabled by slavery,” it declared.
The exhibit speculated that Franklin may have used enslaved people in his electrical research. “Franklin wrote about experiments in which he took shocks and used family and friends in these ways, although he seldom identified who in particular assisted him,” stated the exhibit, which closed in 2025 but can still be found online. “Indentured servants and enslaved people in his household could also have been used, although we may never know for certain.”
It was an eye-catching conjecture: one of the most revered of the Founding Fathers subjecting people held against their will to possibly painful shocks. And it was one of many details singled out for criticism in a blistering 162-page White House report released in July that argued that the museum had fallen victim to an “ideological capture” that “moved the Museum’s mission away from straightforward historical education and scholarship toward an extreme political activism that seeks to transform our country.”
For decades, the Smithsonian Institution, which draws some 15 million visitors every year to its assemblage of 21 museums — bounty that has no real global peer — has managed to stay mostly above the political fray. There have been occasional exceptions, such as the uproar over the National Air and Space Museum’s planned 1995 exhibit of the Enola Gay, the B-29 that dropped the first atomic bomb on Hiroshima. By and large, though, the institution maintained bipartisan support as the guardian of America’s history, ingenuity and natural heritage, even as political polarization spread and culture wars raged.
But that institutional exceptionalism is now imperiled as never before. In March 2025, President Donald Trump signed an executive order declaring that the Smithsonian had succumbed to “divisive, race-centered ideology.” This July 4, timed to coincide with the 250th anniversary of the Declaration of Independence, came the White House report. Later in July, two House committees held back-to-back hearings on the report, where Republican members took turns lambasting the museum’s director, Anthea Hartig, and forcing her to answer questions about exhibit items such as a “chrome and rubber crotch harness” designed for sadomasochistic sex. That week, Trump signed an executive order instructing the Department of the Interior to erect signs outside the museum “warning visitors about the ideological capture” on display there. The signs have yet to go up, but in late August, Interior Secretary Doug Burgum sent a letter to the Smithsonian’s Board of Regents declaring that other federal agencies “cannot in good conscience continue to support the Smithsonian under current leadership.”
The Smithsonian is independent of the executive branch, governed by a 17-member board led by the chief justice of the Supreme Court and with six members of Congress, three from each party, serving with nine private citizens and the vice president. But it depends on the federal government for 62% of its funding, receiving more than $1 billion per year, and warnings of deep budget cuts have grown ever louder. Finally, on Sept. 8, Smithsonian secretary Lonnie Bunch, the first African American person to lead the institution, announced he was stepping down at age 73, saying “it has been stressful.”
Seen from one vantage, the battle over the Smithsonian is but another example of Trump attempting with characteristic bombast to put his stamp on Washington institutions, alongside shuttering the Kennedy Center, replacing the East Wing of the White House with a huge ballroom and planning a 250-foot arch near Arlington National Cemetery.
But unlike some conflicts initiated by Trump, this one has been festering for years, independent of him, with complaints lodged by board members before he returned to office. The American history museum, the main focus of the administration’s ire, has wrestled for years with how, or even whether, it should present a unifying national narrative, an ambivalence that left it susceptible to the administration’s broadside. Meanwhile, the Smithsonian underwent a political awakening during the 2020 upheaval over the COVID-19 pandemic and murder of George Floyd that echoed responses in academia and other progressive realms.
This left it exposed to a new administration that viewed itself as a corrective against perceived woke excesses. “I said over and over again that there’s going to be a day of reckoning,” recalled Garret Graves, a Republican former congressman from Louisiana who served on the Smithsonian board in 2023 and 2024, in an interview. “You can either participate in it, help guide the Smithsonian back to something that makes more sense, or you can have an abrupt shift. I didn’t realize my words would ring as true as quickly as they did.”
Now, in the year that was supposed to be a crowning celebration of the nation’s 250th anniversary, the Smithsonian is instead in Trump’s crosshairs. And the question of how the country’s premier history museum should tell the nation’s story is suddenly up for grabs.
The National Museum of History and Technology opened on the National Mall in 1964. Its mission, said former assistant secretary of the Smithsonian Remington Kellogg that year, was to “awaken” a “clear understanding of the inspiring story of the United States — its origins, struggles, development, traditions, strength.” As the name reflected, the museum contained duelling missions from the start, showcasing American technological advances and telling a more general historical story.
In 1980, it was renamed the National Museum of American History, but the tension lingered. “It started out as a technology museum, and even now it has a lot of equipment, and to move from that to American history, that’s a huge change,” said Ivan Selin, a former chair of the museum’s board. “Unless you’re going to throw everything out and start over again, you’re going to have a very incoherent thing. Unless you have a clear strategy, you’re going to have some apples and oranges.”
Two decades after the name change, the lack of a unified approach had become an issue. In 1999, David Brooks wrote a scathing critique in the Weekly Standard, lamenting that the museum had so little on display about the nation’s defining moments (the Constitutional Convention, the Lewis and Clark Expedition, the Great Depression, etc.) and prominent figures who shaped them (Thomas Jefferson, Abraham Lincoln, Martin Luther King Jr., etc.). “It ignores or virtually ignores most of the major events in American history,” he wrote. “This is a museum of multicultural grievance, which simply passes over any subject, individual, or idea, no matter how vital to American history, that does not have to do with the oppression of some ethnic outgroup or disfavored gender.”
In 2001, in response to such critiques, the Smithsonian convened a blue-ribbon commission of historians and others led by Richard Darman, a former top aide in Republican White Houses. In 2002, the commission released its report, declaring that the museum “requires what its own leadership has described as a ‘transformation.’ It lacks aesthetic appeal, organizational coherence, and the perception of substantive balance.” The report recommended, among other things, a chronological introductory exhibit that contains “central theme lines for the examination and interpretation of American history” and that “should celebrate America’s remarkable strengths and achievements while also treating fairly and responsibly the ways in which America may have failed to meet the high standards it has proclaimed for itself.”
This would prove easier said than done. For one thing, the museum’s physical structure itself has never been coherent — “an awkward attempt to marry the classical and the modern, the building is legitimately neither,” wrote New York Times architecture critic Ada Louise Huxtable at its opening. “It’s a challenging space,” Brent Glass, who became director shortly after the blue-ribbon report in 2002, told ProPublica.
Above all, though, the commission’s recommendations faced resistance among the museum’s curators to the sort of great-man-of-history approach that Brooks and others were hankering for. There had been a trend in museum science away from this, and away from straight chronology. “There was this whole museum movement to get away from a march through time, to a more episodic or specific sort of story,” John Gray, who succeeded Glass in 2012, told ProPublica. “It wasn’t done to get away from the story; it was finding a way to get people interested.”
In addition, the museum’s curators tended to be specialized in material culture — collecting and studying the museum’s several million objects and artifacts — rather than in conceptual storytelling. To make up for this, Gray’s team tried to enlist several leading academic historians to instill more of an overarching narrative structure. But they declined, saying they were concerned that such an approach could seem triumphalist and provide fodder for an America-first agenda. “We tried to organize [the museum] around ideas and ideals, ideals that were aspirational,” Gray said. “And we failed many times.”
The museum’s eventual solution was to divide the national story into subject areas, each represented by a standing exhibit: “American Enterprise” on business and innovation, “American Democracy” on politics,” “Many Voices, One Nation” on immigration, “The American Presidency,” “The Price of Freedom” on the nation’s wars, “Entertainment Nation” on culture, “America on the Move” on transportation.
Developing these required extensive debate, said the former directors. Some donors supporting the enterprise exhibit were upset that it devoted so much space to the role of slavery in American business. In crafting “The Price of Freedom,” the museum consulted with veterans’ groups to try to avoid a backlash like the one that arose on the Enola Gay. This effort succeeded, Glass said, despite the exhibit’s candor about the darker elements of the nation’s military history. “People can handle complexity,” he said. “They don’t feel bad about the country when told the whole story, and they’re grateful that they have access to the information.”
Scattered throughout the museum are countless highlights: the desk on which Jefferson drafted the Declaration of Independence; the top hat Lincoln wore to Ford’s Theatre on the last night of his life; the actual lunch counter from the 1960 Greensboro, North Carolina, Civil Rights sit-in; and, in a recent addition, a gunboat sunk during the Revolutionary War that is being restored on-site. But the overall effect can be disjointed and disorienting. And, with the museum’s dim lighting, dated technology and underutilized areas, it can feel at times as if one is wandering in a past-its-prime shopping mall or in the forgotten corner of an airport terminal.
It’s a stark contrast to the National Museum of African American History & Culture, which opened in 2016 under the direction of Bunch and, notably, has a clear chronological design. Of course, said Selin, the former American history museum board chair, the African American museum and the National Museum of the American Indian, which opened in 2004, have the advantage of a more focused subject, leaving it even less clear what remains for the American history museum, where attendance has declined in recent years. “You can find nowhere in any Smithsonian document a theory of what should be in the American history museum or the more particular museums or how many of these particular museums there should be,” Selin said. “There’s no charter whatsoever that says how they fit together.”
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