School Nixes Exhibition Criticized by Turning Point USA

This year, the long-running art exhibition featuring political artwork at East Tennessee State University (ETSU) has been uninvited from the campus amid considerable backlash from right-wing groups, notably the local chapter of Turning Point USA.

The Fletcher Exhibit of Social and Politically Engaged Art, a fixture at ETSU’s Reece Museum since 2013, faced increased criticism from conservative circles during and following the November 2024 presidential election. This annual exhibition has been curated by Fletcher Dyer’s family, commemorating the art student who tragically died in an accident in 2009, for over a decade.

Prior to the assassination of Turning Point USA’s founder, Charlie Kirk, the 2024 version of the Fletcher Exhibit drew ire from the group’s ETSU chapter due to pieces that took aim at conservative leaders. One piece, featuring Kirk in a collage that criticized various right-wing figures alongside hate symbols, was highlighted by national conservative media in November. Another artwork illustrated Mitch McConnell against a backdrop of swastikas that transformed into crosses, which was discussed in detail on the conservative site Campus Reform.

Those who spoke to conservative outlets claimed that the artworks propagated rather than criticized hateful ideologies, prompting Tennessee’s Republican officials to demand the removal of such displays from the university. Following intense scrutiny both locally and nationally, the university required visitors to sign liability waivers to view the exhibition. Eventually, this summer, organizers were informed that future iterations of the exhibit would not be welcome at the institution.

The Dyer family refuted the media’s portrayal of their exhibition as hateful. In a conversation with Hyperallergic, Barb Dyer, Fletcher’s mother, explained that the exhibition aimed to help people in the Appalachian area “understand the concerns and issues faced by individuals globally in social and politically engaged contexts.” Barb noted that her son valued the significance of debate, free speech, and expressing one’s feelings openly.

In February, after the exhibition ended, Barb received a notification from a Reece Museum staff member, stating that the university’s “goals no longer coincided with our goals” and that the exhibition wouldn’t be hosted anymore. Though she requested a written explanation, none was provided. The anticipated 2025 exhibition was slated to open next month.

“It feels like a betrayal from an institution that should have backed us, and supported Fletcher, and upheld freedom of speech and expression,” remarked Carrie Dyer, Fletcher’s sister, during a call with Hyperallergic.

This summer, artist Joel Gibbs, creator of “Evolution” (2024), an artwork that explicitly targeted conservatives, inquired via email whether there would be a Fletcher Exhibit this year.

The response he received indicated that the Reece Museum would not be hosting the exhibition in the future, according to communication seen by Hyperallergic.

In an email, Gibbs expressed that ETSU’s decision to discontinue the exhibition represents a “symptom” of the university’s capitulation to pressure from Trump-aligned officials.

Media representatives for ETSU have not responded to Hyperallergic’s requests for comment.

Beyond their concerns about the implications of ETSU’s decision for freedom of expression, Barb and Carrie voiced that the university’s rejection felt deeply personal. Fletcher was nearing the end of his college journey at ETSU when he passed; both Barb and Carrie are alumni of the institution, and Wayne, Fletcher’s father, holds a professorship emeritus there. The Dyer family also founded the Fletcher H. Dyer Memorial Scholarship, awarded annually to an art and design student at ETSU.

“In a sense, it feels as if Fletcher has died all over again with the exhibition’s cancellation,” Carrie remarked. “It’s like mourning a second loss for me.”

While the family has yet to find an alternative venue for their exhibition, they are actively exploring options to keep it alive.

ETSU’s Chapter of Turning Point USA was among the first to publicly criticize the exhibit, denouncing a depiction of Kirk during the exhibition on its social media in November.

“We still uphold the right to express those thoughts freely, without fear of repercussions,” Carrie stated, condemning the act of violence against Kirk.

“Fletcher wouldn’t have accepted what befell Kirk, no matter their efforts to suppress the exhibit,” Carrie asserted.

Reports indicate that the university has suspended two faculty members in connection with social media posts about Kirk. The ETSU chapter of Turning Point USA did not reply to a request for comment via their Instagram account. Hyperallergic has also reached out to the national Turning Point USA organization for insights.

Hyperallergic consulted multiple artists and jurors involved in the exhibition, who praised the Dyer family’s dedication to honoring their son’s legacy through stimulating artistic expression.

Jason Flack, an artist from Johnson City, where ETSU is based, shared his dismay at the exhibition’s discontinuation. Having participated for four years and personally knowing Fletcher, he expressed the significance of the show, describing the local art community as “very underground, fragmented, often poorly represented, and easily overlooked.” He emphasized that the Fletcher Exhibit had unified artists from varying educational backgrounds and experiences.

Flack reflected on his own contributions to the show, stating they served as a “mirror to society,” depicting his upbringing in marginalized neighborhoods. His painting “Culture Crisis” (YEAR) delved into “accepted and overlooked aspects of today’s so-called Black culture.”

Patricia Anderson-Turner, an artist from Florida who has exhibited for 10 years, recounted the exhibition as an intimate gathering that fostered community. Last year, Anderson-Turner showcased a piece reflecting on the devastation of Palestinian olive trees as a metaphor for Israel’s “obliteration of Palestine,” according to her artist statement. Earlier works addressed the historical lynching of Laura and L.D. Nelson in 1911 and critiqued the events of January 6.

Meghan Dee, the juror of the contentious 2024 edition, stated that while the show had hosted politically charged works in previous years, this year saw unprecedented levels of controversy.

“What we lost is another space, another community, another opportunity for artists to connect and share their work. We’ve also lost some measure of our freedom of speech,” Dee lamented. “I never believed that the role of art should be consensual or agreeable. Provocative and controversial art often ignites discussions.”

Artist Sue Coe, who has judged previous iterations of the exhibit, noted the platform it provided for works often excluded from conventional art circles.

“It means so much to artists who receive little support—because their work isn’t commercially viable—to showcase their talent in a museum setting,” Coe remarked.

“All the positive contributions of the Fletcher Exhibit cannot be erased by this change in circumstance,” Coe added. “It served as the ideal venue to honor Fletcher’s belief in art’s potential to uplift humanity.”