Heather Mac Donald Unmasks the Met as an Anti-white, Anti-Western Civilization Propaganda Institution

The New York Metropolitan Museum of Art, like the Tate and Art Institute of Chicago, Has Transformed itself from a Museum of Western Culture Into an Institution of Propaganda Against White People.  Donated and previously purchased works of art by white artists are used as examples of white racism.  Racism has become the only permitted explanation in museums of the artistic treasures of Western Civilization. Even art long understood as expressing an anti-slavery theme is now regarded as racism if it was created by a white person. White museum visitors learn how awful they are personally for being white.

American and British museums now celebrate black culture, with white culture dismissed as racism. This is the new goal and function of museums that the woke curators have assigned to themselves and museums.   

Heather Mac Donald is an incisive analytical investigative reporter.  She doesn’t just tell you what is happening.  She tells you why (City Journal, Winter 2023).

For example, 19th century French sculptor Jean-Baptiste Carpeaux’s bust of a black woman bound in rope is explained by the Met as the sculptor’s glorification of white “dominion over Black people’s bodies.”  And it goes on from there.

The Met’s curators have created a curiously problematic theory that it is an expression of white supremacy for a white artist to portray a black slave as doing so is itself a subjugation of blacks. The implication is that white people should neither portray nor acknowledge black slavery as both are expressions of white racist pleasure in dominion over blacks. Thus, whites are guilty of a sin that they cannot acknowledge.  Not content with this, woke reasoning goes further. It is racism for a white to portray a black in a state of freedom or in any state of being as the act of portrayal itself is an expression of control.

It is acceptable for black artists to sell works depicting black people, but not for white people to do so.  When a white artist sells depictions of blacks, he is guilty of “white paternalism” and is subjecting blacks to abjection.

Heather Mac Donald concludes that the Met has betrayed its civilizational responsibilities and that “the hate that it spreads within its walls reinforces the hate spreading throughout society,” which is not what a multicultural society needs.  

The widespread demonization of white people accompanied by white people’s loss of equal treatment in law and the intentional erasure of their civilization can only end in violence.