Crackdown on Museum Exhibits Former U.S. president Donald Trump has ordered the removal of a famous 19th-century photograph of a formerly enslaved man from at least one national park, according to a report by The Washington Post (Sept. 15). The move comes as part of a wider directive to review and remove signs and exhibits …
Trump Orders National Park to Remove Famed Photograph of Formerly Enslaved Man
Crackdown on Museum Exhibits
Former U.S. president Donald Trump has ordered the removal of a famous 19th-century photograph of a formerly enslaved man from at least one national park, according to a report by The Washington Post (Sept. 15).
The move comes as part of a wider directive to review and remove signs and exhibits in national parks that highlight slavery, which Trump’s administration referred to as “corrosive ideology.”
The Photograph: The Scourged Back
The photograph in question, taken in 1863, depicts an escaped enslaved man, possibly named Peter, whose back bore deep scars from repeated whippings. The shocking image circulated widely during the Civil War as undeniable proof of the brutality of slavery.
Known informally as The Scourged Back, the image remains a defining symbol of American slavery and has been displayed in institutions including:
- The National Portrait Gallery
- The National Museum of African American History and Culture
- The National Gallery of Art
Contemporary artists, such as Arthur Jafa, have also incorporated the image into installations to confront ongoing legacies of racial violence.
Parks Under Scrutiny
The Post reported that the directive may specifically affect Harpers Ferry National Historical Park in West Virginia and potentially The President’s House Site in Philadelphia.
This follows Trump’s March executive order targeting Smithsonian museums, which he accused of presenting the idea that “America is purportedly racist.”
Official Justification
A spokesperson for the National Park Service confirmed that exhibits were under review, stating:
“Interpretive materials that disproportionately emphasize negative aspects of U.S. history or historical figures, without acknowledging broader context or national progress, can unintentionally distort understanding rather than enrich it.”
This rationale reflects Trump’s broader efforts to reshape how U.S. history, particularly slavery, is presented in museums and public institutions.
A Pattern of Targeting Slavery Narratives
This is not the first time Trump’s administration has attacked slavery-related displays. In August, Trump criticized Smithsonian museums, claiming they focused too heavily on “how bad Slavery was,” calling them “OUT OF CONTROL.”
The latest order raises new concerns about censorship, historical erasure, and political interference in the interpretation of America’s past.
FAQs
1. What photograph is being removed?
The 1863 image known as The Scourged Back, depicting a formerly enslaved man’s scarred back.
2. Why is it significant?
It became one of the most widely circulated images during the Civil War, offering irrefutable evidence of slavery’s brutality.
3. Which national parks are impacted?
Reports suggest Harpers Ferry National Historical Park and possibly The President’s House Site in Philadelphia.
4. Why did Trump order its removal?
His administration argued that such exhibits promote a “corrosive ideology” by focusing too much on negative aspects of U.S. history.
5. Where else is the image displayed?
Major U.S. museums, including the National Portrait Gallery and the National Museum of African American History and Culture, hold copies.
6. Has Trump criticized similar exhibits before?
Yes. He previously attacked Smithsonian museums for focusing on slavery and claimed they were “out of control.”
Conclusion
The order to remove The Scourged Back from national park exhibits underscores the deeply divisive debates about U.S. history, memory, and representation. For historians and advocates, erasing such imagery risks distorting the realities of slavery and undermining public understanding.
As the image remains preserved in museums and collections worldwide, the controversy raises a pressing question: should political ideology dictate how America remembers its past?
