Trump’s Executive Orders Are a Direct Threat to Black Art, History, and Truth

Trump’s Executive Orders Are a Direct Threat to Black Art, History, and Truth

Op Ed -- Dr. Kelli Morgan 

In January, President Donald Trump issued an executive order titled, "Ending Radical and Wasteful Government DEI Programs and Preferencing, effectively eliminating Diversity, Equity, and Inclusion (DEI) initiatives across federal agencies." 

This sweeping measure has placed culturally specific institutions in immediate peril, as it coincides with the Trump administration’s dismantling of the Institute of Museum and Library Services(IMLS) and plans for severe cuts to the National Endowment for the Humanities (NEH) that include reducing its staff by 70-80%, slashing grant programs, and even rescinding previously awarded funding. These drastic reductions threaten critical support for public programs, exhibitions, infrastructure, and scholarship nationwide, disproportionately affecting institutions dedicated to preserving and amplifying Black and Brown histories.

For Black, Indigenous, and other culturally specific organizations, the impact is existential—many rely almost exclusively on IMLS and NEH funding to sustain their archives, educational initiatives, and community engagement efforts. Without these resources, entire histories risk being erased, leaving a profound void in America’s cultural and historical landscape.

Trump’s latest executive order, "Restoring Truth and Sanity to American History", represents an even more direct and dangerous attack on institutions dedicated to preserving Black, Latinx, and Indigenous histories. By imposing federal control over the Smithsonian museums—specifically targeting the National Museum of African American History and Culture (NMAAHC)—this order seeks to rewrite history through a white supremacist lens. Censoring exhibitions and educational programs deemed ideologically “improper,” it aims to suppress conversations on race, gender, and social justice while legitimizing symbols of oppression, such as Confederate monuments.

This is more than historical revisionism—it is the federalization of white supremacy, weaponizing government power to erase Black and Brown histories and reinforce systemic racism on a national scale. Such actions underscore the dangers of political interference in museums and highlight the urgent need to invest in community-led institutions that are not beholden to the shifting priorities of mainstream establishments. While many museums have long been regarded as custodians of culture and societal reflection, their dependency on government funding often limits their ability to challenge systemic inequities.

The recent executive orders targeting DEI initiatives and culturally specific histories illuminate how political decisions can infiltrate cultural institutions, shaping not only the stories they tell but also who gets to tell them. Rather than viewing these setbacks as insurmountable losses, they should serve as a catalyst for a renewed commitment to strengthening Black and Brown cultural institutions that have always operated outside the purview of state-sponsored funding and oversight. Thus, while mainstream institutions retreat from their commitments to equity, community-led organizations provide sustainable, long-term alternatives that ensure Black and Brown artists, scholars, and curators have platforms to tell their own stories. Supporting these organizations requires a multi-pronged approach that includes:

1. Funding: Redirecting philanthropic efforts toward independent institutions that are mission-driven rather than market-driven. Organizations like the Black Art in American and the Museum of the African Diaspora in San Francisco exemplify how independent funding enables cultural institutions to operate without government interference.

2. Advocacy: Mobilizing public support to protect institutions that center Black and Brown voices. This includes lobbying for local and state funding, engaging in grassroots organizing, and amplifying the work of artists and scholars committed to anti-racist frameworks.

3. Engagement: Encouraging partnerships between grassroots institutions, universities, and international networks to foster collaborations that transcend national politics. Initiatives like Black Lunch Table and the Blackivists have demonstrated the power of community-driven engagement in sustaining cultural legacies.

This is not just about representation; it is about creating a sustainable, anti-racist framework for the arts that cannot be undone by the shifting political tides of mainstream institutions. As federal policies attempt to erase histories and silence us, it becomes imperative to invest in ourselves, for ourselves, and by ourselves if necessary—not just for today, but for generations to come.

With over ten years of experience as a curator, educator, and activist in the cultural sector, Dr. Kelli Morgan is widely known as a leader in progressive museum practice whose work develops and advances anti-racist approaches to art curation, fundraising, and community engagement. She is currently the Founding Executive Director of the Black Artists Archive, a new nonprofit arts organization in Detroit, MI that fosters a nurturing environment for creativity, exhibition, learning, and the preservation of Black art history and visual culture.

Photo caption and credit - Participants engage in Angles & Archives, a monthly dialogue presented by the Black Artists Archive in collaboration with Someday Gallery and Bakehouse, fostering discussions on creative and archival practices within Detroit’s Black artistic community. Photo courtesy of Sam Trotter.