The recent criticisms directed at the Smithsonian’s National Museum of American History illuminate an ongoing narrative in American politics: the intertwining of cultural institutions and political discourse. The museum’s exhibition titled “The Electric Dr. Franklin,” opened in November 2021, has been at the center of a heated debate. It explored Benjamin Franklin’s contributions to electrical science while candidly acknowledging his past as a slaveholder. An assertion in the exhibit suggested that Franklin’s scientific achievements might have been supported by the labor of enslaved individuals, sparking controversy.
In its narrative, the exhibit speculated on Franklin’s possible use of enslaved people in his experiments, a point that has attracted considerable attention. Franklin’s reluctance to name specific individuals as his assistants led to conjectures that he might have employed indentured servants or enslaved people, although definitive proof remains elusive. This narrative forms part of a broader examination of historical figures and their complex legacies, echoing the ongoing national conversation about how history is portrayed in public spaces. The exhibit, which concluded in 2025, continues to provoke debate through its online presence.
A sharply critical 162-page report released by the White House in July exemplifies how cultural exhibitions have become embroiled in political conflict. The report accused the museum of abandoning historical objectivity in favor of “extreme political activism.” This exemplifies the ways in which cultural institutions have become political battlegrounds, as narratives of American history are contested. Such disputes reflect broader tensions about the framing of history in museums, reshaping the discussion of America’s past.
The controversy at the Smithsonian is part of a larger trend involving museums and cultural institutions in the United States. Discussions around the presentation of historical figures have intensified, touching on deeper ideological divides concerning race, identity, and the representation of history. The Smithsonian case is just one instance that highlights how cultural venues have become arenas for the so-called culture wars, as politics increasingly influence how history is curated and consumed. More details can be found here.