A painting by renowned artist Amy Sherald featuring a transgender model has landed on the cover of The New Yorker magazine, following a controversial decision to cancel her exhibition at the Smithsonian's National Portrait Gallery. The artwork, titled "Trans Forming Liberty," depicts transgender model Arewà Basit as the Statue of Liberty and serves as the cover image for The New Yorker's August 11 issue.
Sherald, a Maryland Institute College of Art alumna best known for painting former First Lady Michelle Obama's official 2018 White House portrait, made headlines in July when she abruptly canceled her highly anticipated "American Sublime" exhibition at the Smithsonian's National Portrait Gallery. The exhibition was originally scheduled to open in September.
According to The New York Times report published on July 24, Sherald's decision came after museum officials indicated they were considering removing the "Trans Forming Liberty" painting from the exhibition to avoid potential criticism from President Donald Trump. The work portrays transgender model Arewà Basit reimagined as the iconic Statue of Liberty.
On Monday, Sherald revealed that the controversial painting would grace the cover of The New Yorker's August 11 edition, with an accompanying story about the Smithsonian controversy also published online. This marks Sherald's second New Yorker cover this year, following her painting "Miss Everything (Unsuppressed Deliverance)," which appeared on the March 24 edition.
In a statement shared through Hauser & Wirth, the gallery that represents her, Sherald expressed her stance on the controversy. "This painting exists to hold space for someone whose humanity has been politicized and disregarded," the statement reads in part. "I cannot in good conscience comply with a culture of censorship, especially when it targets vulnerable communities."
The artist, who is now based in New York, was unavailable for direct comment about her decision to withdraw from the National Portrait Gallery exhibition. However, her statement continued with a powerful message about the current political climate: "At a time when transgender people are being legislated against, silenced, and endangered across our nation, silence is not an option. I stand by my work. I stand by my sitters. I stand by the truth that all people deserve to be seen—not only in life, but in art."
A Smithsonian spokesperson told The New York Times that the museum "could not come to an agreement with the artist over the exhibit's presentation," though they did not elaborate on specific details of the disagreement.
The controversy reflects broader tensions in the arts community since President Trump took office in January. The Trump administration has embraced what many describe as a culture war against progressive artistic expression. In a significant move, Trump replaced numerous Kennedy Center board members with his supporters and essentially made himself chairman of the prestigious cultural institution, which he had previously criticized for its "woke culture."
The impact on arts funding has been substantial. In May, hundreds of arts groups across the country saw their grants from the National Endowment for the Arts canceled. The situation worsened when the Republican-led Congress voted to cut $1.1 billion in funding for the Corporation for Public Broadcasting, the nonprofit organization behind National Public Radio and the Public Broadcasting Service. As a result, the corporation announced last week that it will shut down in 2026.
Locally, the cultural tensions have affected Maryland artists and educators. Baltimore theater educator Tavish Forsyth lost positions at both the Kennedy Center and Johns Hopkins University after their nude protest video against the Trump administration went viral, illustrating the reach of the current political climate into academic and cultural institutions.
Despite the Smithsonian setback, art enthusiasts still have an opportunity to view Sherald's "American Sublime" exhibition. The show is currently on display at the Whitney Museum of American Art in New York City through Sunday, giving Maryland residents and other visitors a chance to see the work that sparked national controversy.
A spokesperson for The New Yorker confirmed that Baltimore-area residents should be able to purchase copies of the August 11 issue at local newsstands this week. The magazine's decision to feature the controversial artwork on its cover represents a significant platform for Sherald's message about transgender rights and artistic freedom.
Sherald's career has been marked by groundbreaking portraiture that challenges conventional representations in American art. Her portrait of Michelle Obama, unveiled in 2018, was celebrated for its vibrant colors and contemporary style, departing from traditional formal portraiture. The painting became one of the most popular attractions at the National Portrait Gallery, demonstrating Sherald's ability to create works that resonate with diverse audiences.
The "Trans Forming Liberty" controversy highlights ongoing debates about the role of museums and cultural institutions in presenting challenging or politically sensitive artwork. While some argue that museums should avoid works that might provoke political backlash, others contend that cultural institutions have a responsibility to present diverse perspectives and protect artistic expression.
The timing of The New Yorker cover coincides with increased legislative efforts across multiple states targeting transgender rights, making Sherald's artistic statement particularly resonant. Her decision to stand by the work, even at the cost of a prestigious Smithsonian exhibition, underscores her commitment to using art as a platform for social justice and human dignity.
As the arts community continues to navigate the challenging political landscape, Sherald's experience serves as both a cautionary tale about institutional pressures and an inspiring example of artistic integrity. Her willingness to sacrifice a major museum exhibition rather than compromise her vision demonstrates the ongoing relevance of art as a form of resistance and advocacy.
The controversy also raises questions about the future of public arts institutions and their ability to maintain independence from political pressure. As funding cuts and board changes reshape major cultural organizations, artists and curators must balance institutional survival with their commitment to artistic freedom and diverse representation.
