As I walked through the National Gallery of Art in Washington, D.C., recently, I encountered a curious juxtaposition: a vivid exhibition of German neo-Expressionism nestled alongside African American art. This bizarre nexus struck me as odd.

Museums have long been seen as bastions of culture and education, their walls adorned with humanity’s most profound creative expressions. However, they are also arenas where the powerful shape public perception, selectively curating history to reflect their ideals. The National Gallery’s current exhibition is a case in point, where the intersection of German neo-Expressionism and African American art invites scrutiny of the intentions behind such curatorial decisions.

Neo-Expressionism, emerging in Germany in the late 20th century, was a response to minimalism and conceptual art, characterized by vivid colors, dynamic brushstrokes and a return to figurative art. Its canvases often convey intense emotion and social critique. By contrast, the African American art displayed in the exhibit I toured spans a range of styles and eras, unified by a shared exploration of identity, struggle and resilience within the African American experience.

The decision to present these two disparate collections together raises questions. What is the relevance of pairing German neo-Expressionism with African American art? Are these artworks speaking to each other in a meaningful dialogue, or is their coexistence more about crafting a broader narrative?

Critics argue that such curatorial decisions are not merely aesthetic but deeply political. By positioning these works side by side, the museum might be attempting to draw parallels between the German post-war experience and the African American struggle for civil rights. However, this juxtaposition can also be seen as an effort to universalize specific historical narratives, potentially diluting the unique cultural contexts and political messages each genre carries.

Moreover, the wealthy patrons who often fund these exhibitions wield significant influence over what is displayed. Their interests can subtly, or overtly, shape the curatorial agenda. In this light, the current exhibition could be viewed as a strategic move to align contemporary socio-political themes with broader, more palatable historical contexts, appealing to a diverse audience while subtly reinforcing the patrons’ ideological leanings.

Consider the backgrounds of those who fund such exhibitions. Wealthy benefactors and corporate sponsors frequently have vested interests in the narratives that museums propagate. By supporting exhibitions that blend diverse art forms, they may seek to position themselves as progressive and inclusive. Yet, this blending can sometimes obscure the specific historical and cultural significance of the work, rendering the art as mere tools for a broader, perhaps politically motivated, agenda.

A notable inclusion in the exhibition is Kerry James Marshall’s “Untitled (Man),” a piece that stands out for its profound exploration of African American identity. Marshall’s work, respected for its depth and authenticity, should not be criticized; instead, we must question the curators and patrons who chose to place his art in this particular context. What messages are they trying to convey, and whose interests are being served?

In essence, the role of museums as cultural gatekeepers is fraught with the complexities of power and influence. The National Gallery of Art’s exhibition is not just an artistic endeavor but a microcosm of the larger dynamics at play in the art world. It underscores how the narratives within museum walls are carefully constructed, reflecting the ambitions of those who control them.

As visitors stroll through the gallery, absorbing the vibrant strokes of German neo-Expressionism and the poignant depictions of African American life, they are participating in a curated experience — a narrative shaped by historical contexts, artistic intent, and, undeniably, the undercurrents of political and financial power. The challenge lies in discerning the significance of artistic and historic dialogue from orchestrated narratives, understanding that in the world of art, as in politics, the works that we digest have been curated for our consumption. I’d encourage all to consider this more deeply in their next encounter with a museum institution — always questioning why the works are being presented

Andrew S. Jacobson (andrew@balmoreart.com) is a lawyer, educator and art media entrepreneur. He founded The Law Offices of Andrew S. Jacobson, teaches the Business of Art at Maryland Institute College of Art, and founded the art media company Balmoré Art.