The recent decision by the Organization of American States (OAS) to cancel two major exhibitions at the Art Museum of the Americas has sparked controversy and raised questions about the intersection of politics and culture. The canceled exhibitions, “Before the Americas” and “Nature’s Wild with Andil Gosine,” were part of the OAS’s cultural mission but were dropped in light of shifting political priorities.
“Before the Americas” showcased the work of Black artists from the Americas, including Elizabeth Catlett, whose retrospective had just concluded at the Brooklyn Museum. The second exhibition, “Nature’s Wild with Andil Gosine,” focused on Canadian artist Andil Gosine’s exploration of colonial law and its impact on queer existence in the Caribbean. These exhibitions were a vital part of the OAS’s efforts to promote cultural diversity and dialogue.
The cancellation of these shows came on the heels of a statement from the US Mission to the OAS, outlining a new mission focused on national interests over cultural causes. This shift away from policies promoting diversity, equity, and inclusion reflects a broader trend of right-wing backlash against progressive initiatives. The US Department of Education also issued a statement criticizing DEI programs in educational institutions, further signaling a move away from inclusive policies.
The political context surrounding these cancellations highlights the growing divide in society, with far-right movements gaining traction and nationalism on the rise. As authoritarian tendencies take hold worldwide, the fight for equality and justice becomes more urgent than ever. Artists, scholars, and activists who challenge the status quo and resist colonialism, racism, and heteronormativity play a crucial role in shaping a more inclusive and just society.
The historical legacy of imperialism and colonialism in shaping cultural institutions and education systems cannot be ignored. These systems were designed to uphold Western dominance and silence Indigenous knowledge and voices. It is essential to confront systemic injustice and challenge oppressive structures rather than relying on token solutions like diversity initiatives.
The influence of corporate interests on the arts and education sectors has also played a significant role in shaping cultural production. Corporate sponsorship has often led to soft censorship, where works critical of corporate interests or addressing social issues are toned down or eliminated. The neoliberal turn in the 1980s and 90s reshaped the cultural landscape, prioritizing market values over social concerns and promoting individualism over collective action.
As we navigate the current political climate, it is crucial to defend the autonomy of the arts and education sectors and resist efforts to silence dissenting voices. By supporting artists, scholars, and activists who challenge oppressive systems and promote social justice, we can work towards a more equitable and inclusive society.
