The exhibition titled Before the Americas, which was one of the first to be canceled due to Trump’s criticisms of Diversity, Equity, and Inclusion (DEI) initiatives, has found a new venue in Fairfax, Virginia. This Saturday, on September 13, the show, which was originally set to launch at the Art Museum of the Americas in Washington, DC, opened at the Gillespie Gallery at George Mason University School of Art. The exhibition showcases the works of 39 artists from 17 different countries, including prominent figures such as Amy Sherald, Renee Stout, Alma Thomas, Elizabeth Catlett, and Alonzo Davis. The artworks focus on themes of ancestral memory, migration, and community interconnectivity within African American, Afro-Latino, and Caribbean cultures, utilizing various mediums from sculpture to printmaking to book art.
Cheryl Edwards, the exhibition’s curator, expressed her feelings of “relief and redemption” upon the public opening, likening the experience to the essence of Bob Marley’s Redemption Song.
Originally scheduled to open at the Art Museum of the Americas on March 21—four years after its initial commission—Edwards received a call in February informing her of the exhibition’s cancellation. The Trump administration reportedly terminated funding after deeming it a “DEI program and event,” which had been approved during the Biden administration.
On his very first day in office, President Trump signed an executive order that banned DEI initiatives aimed at providing equal opportunities for marginalized communities in the workforce.
The cancellation of Before the Americas marked one of the earliest examples of an artistic initiative being scrapped due to the administration’s policies. A follow-up show at the same venue, centered on LGBTQ+ artists, also lost its funding. Furthermore, multiple performances were dropped from the Kennedy Center’s programming after Trump appointed himself as its Board Chair, including notable gestures like the Gay Men’s Chorus of Washington’s Pride celebration concert and the play Eureka Day, which features themes around vaccine policy.
Following the abrupt funding withdrawal, Edwards had to seek alternative funding sources to facilitate the exhibition. She estimates that about “50 or 60 donors” came together to help the show relocate and continue. “It truly strengthened our bond within the art community,” Edwards remarked, emphasizing the significance of arts and culture in society and how art can rise above political strife.
Upon hearing the news of the exhibition’s cancellation, Donald Russell, director of Mason Exhibitions and the Gillespie Gallery, promptly offered to host it. Edwards had a history of collaboration with Russell, having previously exhibited his work, and he was involved in the exhibition’s early planning stages. “I was completely ready to take it on,” Russell shared with Hyperallergic.
With its vibrant colors and engaging lines, the artworks in this Afrocentric exhibition narrate the legacies of African-descendant artists. For instance, Lois Mailou Jones’s 1996 silkscreen print captures the movement of three African dancers with striking vigor, while Elizabeth Catlett’s gentle portrayal in “Niña” (1957) conveys a subtle strength through a young girl’s profile.
“The history of African-descendant artists is not confined to the era of slavery,” Edwards stated. “This is the core message of our exhibition.”
Before the Americas will be hosted at the Gillespie Gallery until November 15, after which it will tour the region. The exhibit is scheduled to open at the University of Maryland Global Campus in February, remaining there until May, with additional locations yet to be determined.
Edwards emphasizes the pressing challenges faced by the cultural sector and underscores the need for resilience. “In a landscape where things are being erased,” she stated, “as artists and cultural workers, it is imperative we document this moment in history.”
Regarding Before the Americas, Edwards contemplates its relevance in today’s artistic climate.
“I’m viewing it now as an embodiment of radical beauty,” she noted. “It is unimaginable to think of living in a world devoid of art and culture that embraces all backgrounds and is truly multicultural.”
