Netherlands WWII cemetery removes displays honoring Black soldiers; Military Times, November 14, 2025

Claire Barrett, Military Times; Netherlands WWII cemetery removes displays honoring Black soldiers

[Kip Currier: Reading this story, I was struck by how important it is to raise our awareness of people and events whose stories and contributions often are either unknown or not as well-recognized by more people as they should be. 

That anyone would learn about the service and contributions of Black American soldiers in the Netherlands during WWII and be troubled that their stories are included in the Netherlands American Cemetery and Memorial in Margraten is an outrage. 

How dare the Heritage Foundation -- and even more, the Trump 2.0 administration that has codified these kinds of historical purges -- strive to erase this history and these Black American military members and their service from this Dutch museum.

Thank you to all those who are sounding the alarm about another example of this kind of historical censorship.]

[Excerpt]

 "The Netherlands American Cemetery and Memorial in Margraten, the only American military cemetery in the Netherlands, has quietly removed panels displaying the contributions of Black American soldiers during WWII, sparking outrage from Dutch and American citizens.

One of the two displays featured an overall history of Black American military personnel fighting a double V campaign — victory at home and abroad — while the other told the story of George H. Pruitt, a Black soldier in the 43rd Signal Construction Battalion who drowned a month after the war’s end while attempting to save a comrade’s life in a German river.

The two panels were added to the visitor center in September 2024 after the American Battle Monuments Commission, a U.S. government agency that oversees the cemetery, received criticism from families and historians for not including the contributions of Black service members and their experiences fighting in the Netherlands.

At the time of publishing, ABMC did not respond to requests for comment from Military Times. The commission, however, told Dutch news outlets that one panel is“off display, though not out of rotation,” although a second panel was “retired.” 

The panels were reportedly rotated out in early March, one month after President Donald Trump’s executive order terminated diversity, equity and inclusion, or DEI, initiatives across the federal government.

The same month the panels were removed, The Heritage Foundation, a right-wing think tank, contacted the ABMC for its supposed failure to comply with Trump’s anti-DEI initiatives...

Among such men was 1st Sgt. Jefferson Wiggins of the 960th Quartermaster Service Company, one of more than 900,000 Black men and women who served in the U.S. military during WWII.

Wiggins and the men of the 960th QSC were tasked with the grim job of burying American dead in Margraten.

What was once a fruit orchard would become the final resting place for some 8,300 U.S. soldiers, including 172 Black servicemen. In 2009, Wiggins recounted to historian Mieke Kirkels how the work was done under horrific conditions, often with only rudimentary tools like pickaxes and shovels to dig the graves. 

“There was a permanent arrival of bodies, the whole day long. Sundays included, seven days a week,” Wiggins recalled. “I find it difficult, even now, to read in the paper that soldiers ‘gave their lives.’ … All those boys in Margraten, their lives were taken away.”"

Trump’s Attempt to Make Museums Submit Feels Familiar; The New York Times, August 15, 2025

Michelle Goldberg , The New York Times; Trump’s Attempt to Make Museums Submit Feels Familiar

"Five years ago, many institutions in the United States tried, with varying degrees of seriousness and skill, to come to terms with our country’s legacy of racism. A backlash to this reckoning helped propel Donald Trump back into the White House, where he has taken a whole-of-government approach to wiping out the idea that America has anything to apologize for. As part of this campaign, the administration seeks to force our national museums to conform to its triumphalist version of history.

In March, Trump signed an executive order, “Restoring Truth and Sanity to American History,” criticizing versions of history that foster “a sense of national shame.” Museums and monuments, it said, should celebrate America’s “extraordinary heritage” and inculcate national pride. This week, the administration announced that it was reviewing displays at eight national museums — including the Museum of American History, the National Museum of African American History and Culture and the Smithsonian American Art Museum — and giving them 120 days to bring their content in line with Trump’s vision.

We’re already seeing glimpses of what that looks like. Last month, the National Museum of American History removed references to Trump’s impeachments from an exhibit on the American presidency. Those references were restored last week, but with changes: The exhibit no longer says that Trump made “false statements” about the 2020 election or that he encouraged the mob on Jan. 6...

For Pawel Machcewicz, founding director of the Museum of the Second World War, it’s been unsettling to see American museums subject to the sort of political intimidation he experienced in Poland...

Standing up to his government was costly. Machcewicz said he was subject to two separate criminal investigations, and for a time he left the country...

But for now, Machcewicz has the peace that comes from doing the right thing. “If I had capitulated, I would have been a completely frustrated man, because I would feel like someone who has betrayed himself,” he said. It’s a message that those who are tempted to try to appease this administration, at our museums or anywhere else, might remember."

The Smithsonian faces an existential crisis. The world is watching.; The Washington Post; June 4, 2025

Philip Kennicott , The Washington Post; The Smithsonian faces an existential crisis. The world is watching.

"The Smithsonian has a long and sadly craven history of caving to critics, including making changes to exhibitions after pressure from activists and members of Congress. Former Smithsonian secretary G. Wayne Clough censored an NPG exhibition of portraiture featuring LGBT people in 2010, after pressure from conservative Christian activists. Clough forced museum curators to remove a single video, by the gay artist and AIDS activist David Wojnarowicz, which actually made the exhibition more popular when it traveled to Brooklyn and Tacoma, Washington.

The precedent for that intrusion on editorial independence had been established at least since 1995, when the National Air and Space Museum censored an exhibition about the Enola Gay, the plane that dropped the first atomic bomb. The Enola Gay controversy, which centered on some veterans’ opposition to an evenhanded curatorial discussion of why the bomb was dropped and whether it was necessary, damaged the institution, but it also helped foster widespread and lasting resistance to censorship and content meddling throughout the organization.

But those examples were mere brush fires compared with the destruction that would follow a new precedent, the right of the president of the United States to dictate hiring and content. Trump’s ongoing efforts to assert control over the performing arts, museum sector and the larger American historical narrative have been audacious and destructive. Subscriptions sales at the Kennedy Center are down some 36 percent from last year, and community arts and humanities groups around the country are suffering from the loss of small but essential grants from organizations including the National Endowment for the Arts, the National Endowment for the Humanities and the Institute of Museum and Library Services."