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Tag: smithsonian

  • How much has Trump reshaped the portrayal of Black history?

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    It’s Black History Month — and President Donald Trump has put his stamp on the decades-old commemoration.

    The White House’s 2026 Black History Month proclamation said Black history “is not distinct from American history.” Black History Month, the proclamation said, has been twisted by “the progressive movement and far-left politicians” who have “sought to needlessly divide our citizens on the basis of race, painting a toxic and distorted and disfigured vision of our history, heritage, and heroes.” 

    At a Feb. 18 White House event, Trump lauded Black celebrities and closed his remarks with, “Happy Black History Month! Happy Black History Year! And happy Black History Century!”

    Since starting his second term, Trump has sought to reshape the government’s portrayal of Black history.

    Trump has issued executive orders curtailing the government’s use of diversity, equity and inclusion, or DEI. Since then, federal agencies have taken a number of high-profile steps to remove historical information portrayed through the lens of race. 

    Some have subsequently been reversed, modified or blocked in court. It remains unclear whether Trump’s executive orders and the removals could have a chilling effect on museums, historical sites and federal agencies going forward. 

    “No other presidential administration has interfered with these (historical) sites in this way before,” said Leslie M. Harris, a Northwestern University historian and author of five books on slavery in the U.S. “A short-term outcome could be a distrust, even an avoidance, of government sites.” 

    In response to our request for comment, White House spokesperson Olivia Wales outlined what she said are Trump’s accomplishments for Black Americans spanning both his presidencies, including criminal justice reform, prison reform, opportunity zones, long-term funding of historically black colleges, school choice funding, Trump Accounts and “the largest middle-class tax cuts in history.”

    What did Trump’s executive orders say?

    Within hours of his Jan. 20, 2025, inauguration, Trump issued an executive order mandating the termination of what it called “all discriminatory programs” including DEI “mandates, policies, programs, preferences, and activities” in the federal government.

    A second March 27, 2025, executive order, titled “Restoring Truth and Sanity to American History,” sought to counter what it characterized as “a concerted and widespread effort to rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth.” 

    The executive order specifically addressed the Smithsonian Institution and said people visiting museums should not “be subjected to ideological indoctrination or divisive narratives that distort our shared history.” (In August 2025, PolitiFact visited several Smithsonian museums and rated Trump’s statement that the Smithsonian includes “nothing about success, nothing about brightness, nothing about the future” Pants on Fire. )

    The order also directed the interior secretary — whose department includes the National Park Service that operates hundreds of historical sites and interpretive exhibits — to reinstate materials that had been “removed or changed to perpetuate a false reconstruction of American history, inappropriately minimize the value of certain historical events or figures, or include any other improper partisan ideology.” 

    How have these orders been implemented?

    Here are some examples of ways the executive orders have been implemented that are still in place:

    The “scarred back” photograph. An 1863 image of a man who escaped slavery and bore deep scars on his back from being whipped was removed from display at the Fort Pulaski National Monument near Savannah, Georgia, Greenwire reported in September 2025. The 1863 photo is well known because of its use by abolitionists and inclusion in modern textbooks.

    Statue of Confederate general Albert Pike. Protesters tore down and burned the Washington, D.C., statue during Black Lives Matter protests in 2020, but the National Park Service renovated and reinstalled it in October 2025. 

    A statue of Confederate general Albert Pike has been reinstalled in a park near the headquarters of the Labor Department in Washington, D.C., in 2025. (AP)

    National Park Service gift shops. The Interior Department issued a November 2025 memo ordering its gift shops to remove any items promoting DEI or gender expression, The New York Times reported

    Louisiana landmark designation. Following a multi-year National Park Service review, the Great River Road, an 11-mile corridor in Louisiana with a deep history of slavery, was pulled from consideration for National Historic Landmark designation.

    Black Lives Matter plaza. Washington, D.C., Mayor Muriel Bowser removed a mural of the words “Black Lives Matter” near the White House, painted on the street after the 2020 murder of George Floyd by Minneapolis police. The removal followed the introduction of legislation by Rep. Andrew Clyde, R-Ga., to withhold federal funds from the city didn’t remove it.

    Other actions were modified or reversed after public backlash, including: 

    Harriet Tubman web page. The National Park Service initially removed a large photo and quotations from Tubman, an anti-slavery advocate, from a web page about the Underground Railroad, but it was later restored.

    Pentagon web pages. Weeks after Trump returned to office, the Pentagon marked tens of thousands of web pages for deletion based on the DEI executive order’s standards. But after an outcry about the removal of a page about Jackie Robinson, the first Black major league baseball player, Robinson’s page was restored. It’s unclear whether other pages were restored and how many that were marked for deletion were formally deleted.

    Plantation grants. Two federal grants to the Whitney Plantation in Louisiana, which offers tours and exhibits about the realities of life under slavery, were initially rescinded, but later restored, The New York Times reported. 

    Jennifer Thomas of Los Angeles takes photos outside the main plantation house at the Whitney Plantation in Edgard, La., in 2017. (AP)

    In at least one case, the courts have blocked an administration action — the removal of biographical panels about nine people enslaved by the nation’s first president, George Washington, when Philadelphia was the nation’s capital. On Feb. 16, a federal judge ruled that the panels had to be returned; the federal government is appealing. 

    In a statement to PolitiFact, White House spokesperson Taylor Rogers said the Interior Department “is engaged in an ongoing review of our nation’s American history exhibits in accordance with the president’s executive order to eliminate corrosive ideology, restore sanity, and reinstate the truth.” Rogers said the department’s actions are not finalized and she called the lawsuits “premature.”

    On Feb. 17, advocacy groups announced another lawsuit against the Trump administration, targeting the removal of civil rights information, as well as climate change and other subjects, at national parks.

    What is the impact? 

    Historians said the administration’s moves are misguided.

    “The removal of this complex history from National Park Service sites is concerning, as these places are an important source of historical information for the general public,” said Harris, the Northwestern University historian.

    For example, the removal of the historical panels about people enslaved by George Washington “erases heroic and inspirational American stories of courage and patriotism” by enslaved people, said James Madison University historian Steven A. Reich. 

    The removal of exhibits or historical information also endangers freedom of thought, a cornerstone of democracy, Reich said.

    “How to tell the story of the country’s past, in a democratic society, is as open and fluid as the debate over any matter of public policy,” he said.

    For Trump, who has touted his improved performance among Black voters in the 2024 election, the executive orders he’s signed make it “hard to argue that he wants to help Black people,” said Andra Gillespie, an Emory University political scientist. 

    Staff Researcher Caryn Baird contributed to this report.

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  • Mapping the genetic code of ocean life at the Smithsonian – WTOP News

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    WTOP’s Matt Kaufax takes an even deeper dive into the Smithsonian Natural History Museum’s “Ocean Library” to explore how DNA collected from millions of specimens is helping us understand oceans and Earth.

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    Mapping the genetic code of ocean life at the Smithsonian

    Did you know one of the largest collections of marine DNA in the entire world is hiding just outside D.C.?

    In today’s episode of “Matt About Town,” we’re taking an even deeper dive into the Smithsonian Natural History Museum’s “Ocean Library,” to explore how DNA collected from millions of specimens is helping us understand our oceans — and our planet.

    Last week, “Matt About Town” gave you an exclusive look at the Smithsonian’s “Ocean Library,” a staggeringly vast collection stored at the Museum Support Center in Suitland, Maryland. MSC is where the Smithsonian National Museum of Natural History stores its reserve collections not in display to the public. Scientists from all over come to MSC to study them.

    What we didn’t show you before were the rooms filled with liquid nitrogen drums, metal containers and a freezer, along with the state-of-the-art DNA labs, where scientists are extracting and cataloging samples from all these specimens.

    It’s all part of NMNH’s Ocean DNA Program, which was launched in 2019. The eventual goal is to have every marine species known to humankind accounted for at MSC, with each individual specimen getting its own digital DNA bar code of sorts, stored in a database for all time.

    This way, any scientist anywhere in the world can study a species at any given time.

    Scientists use the DNA gathered from the millions of specimens here as a reference point, comparing it to traces of environmental DNA, or eDNA, that floats around in water all across the planet. It’s how they sift through the genetic soup of skin, blood, hair cells and more in our oceans to paint a comprehensive picture of life in the sea.

    The Smithsonian’s state of the art preservation methods — and the incredible wealth of information scientists can gather using new technologies — is what makes this program unlike any other on Earth.

    Hear “Matt About Town” first every Tuesday and Thursday on 103.5 FM!

    If you have a story idea you’d like Matt to cover, email him or chat with him on Instagram and TikTok.

    Check out all “Matt About Town” episodes here!

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    © 2026 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Matt Kaufax

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  • Flesh-eating beetles: The unsung heroes of the Smithsonian Museum of Natural History – WTOP News

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    What if we told you that a small army of flesh-eating insects plays a crucial role in helping the Smithsonian prep and preserve its fossils?

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    How the Smithsonian uses an army of flesh-eating insects to preserve its fossils

    What if we told you that a small army of flesh-eating insects plays a crucial role in helping the Smithsonian prep and preserve its fossils?

    In today’s episode of “Matt About Town,” we’re going behind the scenes at the Smithsonian National Museum of Natural History’s Osteology Prep Lab in Suitland, Maryland.

    You can find the OPL on the campus of the Smithsonian Museum Support Center — that’s where the Natural History Museum keeps its reserve collections. OPL is housed in a separate building, secluded from the other collections, mainly because of the carpet beetles you can find inside.

    These beetles are what scientists there call “the unsung heroes” of fossil preparation.

    When dead specimens that the Smithsonian is interested in preserving come into the facility, humans are only able to remove so much of the oil/grease, fats, skin, tissue and other gunk from these carcasses on their own.

    That’s where the beetles come in.

    Join us on a wild adventure for an up-close look at the real-time decomposition process, which can take anywhere from days to months (depending on the size of what they’re dealing with).

    At the end of the process, these beetles have played a major role in the pristine, well-preserved bones that NMNH either stores in collections or proudly displays in its museum.

    To learn more about the Osteo Lab at MSC, head to their website.

    Hear “Matt About Town” first every Tuesday and Thursday on 103.5 FM!

    If you have a story idea you’d like Matt to cover, email him or chat with him on Instagram and TikTok.

    Check out all “Matt About Town” episodes here!

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    © 2026 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Matt Kaufax

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  • Reference to Trump’s impeachments is removed from the display of his Smithsonian photo portrait – WTOP News

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    A different photo appears without any accompanying text block, though the text was available online. Donald Trump was the only president whose display in the gallery did not include any extended text.

    Visitors to the National Portrait Gallery walk past the portrait of President Donald Trump, Sunday, Jan. 11, 2026, in Washington.
    (AP Photo/Rod Lamkey, Jr.)

    AP Photo/Rod Lamkey, Jr.

    Trump National Portrait Gallery
    A reflection of the portrait of former President Barack Obama is seen in a photograph of President Donald Trump on display at the Smithsonian’s National Portrait Gallery’s “American Presidents” exhibit on Sunday, Jan. 11, 2026 in Washington.
    (AP Photo/Rod Lamkey, Jr.)

    AP Photo/Rod Lamkey, Jr.

    APTOPIX Trump National Portrait Gallery
    A visitor stops to look at a photograph of President Donald Trump and a short plaque next to it are on display at the Smithsonian’s National Portrait Gallery’s “American Presidents” exhibit on Sunday, Jan. 11, 2026 in Washington.
    (AP Photo/Rod Lamkey, Jr.)

    AP Photo/Rod Lamkey, Jr.

    Trump National Portrait Gallery
    A photograph of President Donald Trump and a short plaque next to it are on display at the Smithsonian’s National Portrait Gallery’s “American Presidents” exhibit on Sunday, Jan. 11, 2026 in Washington.
    (AP Photo/Anna Johnson)

    AP Photo/Anna Johnson

    Trump National Portrait Gallery
    People react to a photograph of President Donald Trump on display at the Smithsonian’s National Portrait Gallery’s “American Presidents” exhibit on Sunday, Jan. 11, 2026 in Washington.
    (AP Photo/Rod Lamkey, Jr.)

    AP Photo/Rod Lamkey, Jr.

    WASHINGTON (AP) — President Donald Trump’s photo portrait display at the Smithsonian’s National Portrait Gallery has had references to his two impeachments removed, the latest apparent change at the collection of museums he has accused of bias as he asserts his influence over how official presentations document U.S. history.

    The wall text, which summarized Trump’s first presidency and noted his 2024 comeback victory, was part of the museum’s “American Presidents” exhibition. The description had been placed alongside a photograph of Trump taken during his first term. Now, a different photo appears without any accompanying text block, though the text was available online. Trump was the only president whose display in the gallery, as seen Sunday, did not include any extended text.

    The White House did not say whether it sought any changes. Nor did a Smithsonian statement in response to Associated Press questions. But Trump ordered in August that Smithsonian officials review all exhibits before the nation celebrates the 250th anniversary of the Declaration of Independence on July 4. The Republican administration said the effort would “ensure alignment with the president’s directive to celebrate American exceptionalism, remove divisive or partisan narratives, and restore confidence in our shared cultural institutions.”

    Trump’s original “portrait label,” as the Smithsonian calls it, notes Trump’s Supreme Court nominations and his administration’s development of COVID-19 vaccines. That section concludes: “Impeached twice, on charges of abuse of power and incitement of insurrection after supporters attacked the U.S. Capitol on January 6, 2021, he was acquitted by the Senate in both trials.”

    Then the text continues: “After losing to Joe Biden in 2020, Trump mounted a historic comeback in the 2024 election. He is the only president aside from Grover Cleveland (1837– 1908) to have won a nonconsecutive second term.”

    Asked about the display, White House spokesman Davis Ingle celebrated the new photograph, which shows Trump, brow furrowed, leaning over his Oval Office desk. Ingle said it ensures Trump’s “unmatched aura … will be felt throughout the halls of the National Portrait Gallery.”

    The portrait was taken by White House photographer Daniel Torok, who is credited in the display that includes medallions noting Trump is the 45th and 47th president. Similar numerical medallions appear alongside other presidents’ painted portraits that also include the more extended biographical summaries such as what had been part of Trump’s display.

    Sitting presidents are represented by photographs until their official paintings are commissioned and completed.

    Ingle did not answer questions about whether Trump or a White House aide, on his behalf, asked for anything related to the portrait label.

    The gallery said in a statement that it had previously rotated two photographs of Trump from its collection before putting up Torok’s work.

    “The museum is beginning its planned update of the America’s Presidents gallery which will undergo a larger refresh this Spring,” the gallery statement said. “For some new exhibitions and displays, the museum has been exploring quotes or tombstone labels, which provide only general information, such as the artist’s name.”

    For now, references to Presidents Andrew Johnson and Bill Clinton being impeached in 1868 and 1998, respectively, remain as part of their portrait labels, as does President Richard Nixon’s 1974 resignation as a result of the Watergate scandal.

    And, the gallery statement noted, “The history of Presidential impeachments continues to be represented in our museums, including the National Museum of American History.”

    Trump has made clear his intentions to shape how the federal government documents U.S. history and culture. He has offered an especially harsh assessment of how the Smithsonian and other museums have featured chattel slavery as a seminal variable in the nation’s development but also taken steps to reshape how he and his contemporary rivals are depicted.

    In the months before his order for a Smithsonian review, he fired the head archivist of the National Archives and said he was firing the National Portrait Gallery’s director, Kim Sajet, as part of his overhaul. Sajet maintained the backing of the Smithsonian’s governing board, but she ultimately resigned.

    At the White House, Trump has designed a notably partisan and subjective “Presidential Walk of Fame” featuring gilded photographs of himself and his predecessors — with the exception of Biden, who is represented by an autopen — along with plaques describing their presidencies.

    The White House said at the time that Trump himself was a primary author of the plaques. Notably, Trump’s two plaques praise the 45th and 47th president as a historically successful figure while those under Biden’s autopen stand-in describe the 46th executive as “by far, the worst President in American History” who “brought our Nation to the brink of destruction.”

    ___

    Barrow reported from Atlanta.

    Copyright
    © 2026 The Associated Press. All rights reserved. This material may not be published, broadcast, written or redistributed.

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    WTOP Staff

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  • Reference to Trump’s impeachments removed from photo at Smithsonian’s National Portrait Gallery

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    President Trump’s photo portrait display at the Smithsonian’s National Portrait Gallery has had references to his two impeachments removed, the latest apparent change at the collection of museums he has accused of bias, as he asserts his influence over how official presentations document U.S. history.

    The wall text, which summarized Mr. Trump’s first presidency and noted his 2024 comeback victory, was part of the museum’s “American Presidents” exhibition. The description had been placed alongside a photograph of Mr. Trump taken during his first term. Now, a different photo appears without any accompanying text block, though the text was available online. Mr. Trump was the only president whose display in the gallery, as seen on Sunday, did not include any extended text.

    The White House did not say whether it sought any changes. Nor did a Smithsonian statement in response to Associated Press questions. But Mr. Trump ordered in August that Smithsonian officials review all exhibits before the nation celebrates the 250th anniversary of the Declaration of Independence on July 4. The Republican administration said the effort would “ensure alignment with the president’s directive to celebrate American exceptionalism, remove divisive or partisan narratives, and restore confidence in our shared cultural institutions.”

    Mr. Trump’s original “portrait label,” as the Smithsonian calls it, notes Mr. Trump’s Supreme Court nominations and his administration’s development of COVID-19 vaccines. That section concludes: “Impeached twice, on charges of abuse of power and incitement of insurrection after supporters attacked the U.S. Capitol on January 6, 2021, he was acquitted by the Senate in both trials.”

    A photograph of President Donald Trump and a short plaque next to it are on display at the Smithsonian’s National Portrait Gallery’s “American Presidents” exhibit on Sunday, Jan. 11, 2026 in Washington.

    Anna Johnson / AP


    Then the text continues: “After losing to Joe Biden in 2020, Trump mounted a historic comeback in the 2024 election. He is the only president aside from Grover Cleveland (1837– 1908) to have won a nonconsecutive second term.”

    Asked about the display, White House spokesman Davis Ingle celebrated the new photograph, which shows Mr. Trump, brow furrowed, leaning over his Oval Office desk. Ingle said it ensures Mr. Trump’s “unmatched aura … will be felt throughout the halls of the National Portrait Gallery.”

    The portrait was taken by White House photographer Daniel Torok, who is credited in the display that includes medallions noting Mr. Trump is the 45th and 47th president. Similar numerical medallions appear alongside other presidents’ painted portraits that also include the more extended biographical summaries, such as what had been part of Mr. Trump’s display.

    Sitting presidents are represented by photographs until their official paintings are commissioned and completed.

    Ingle did not answer questions about whether Mr. Trump or a White House aide, on his behalf, asked for anything related to the portrait label.

    The gallery said in a statement that it had previously rotated two photographs of Mr. Trump from its collection before putting up Torok’s work.

    “The museum is beginning its planned update of the America’s Presidents gallery which will undergo a larger refresh this Spring,” the gallery statement said. “For some new exhibitions and displays, the museum has been exploring quotes or tombstone labels, which provide only general information, such as the artist’s name.”

    For now, references to Presidents Andrew Johnson and Bill Clinton being impeached in 1868 and 1998, respectively, remain as part of their portrait labels, as does President Richard Nixon’s 1974 resignation as a result of the Watergate scandal.

    And, the gallery statement noted, “The history of Presidential impeachments continues to be represented in our museums, including the National Museum of American History.”

    Mr. Trump has made clear his intentions to shape how the federal government documents U.S. history and culture. He has offered an especially harsh assessment of how the Smithsonian and other museums have featured chattel slavery as a seminal variable in the nation’s development but also taken steps to reshape how he and his contemporary rivals are depicted.

    US-POLITICS-TRUMP

    New plaques have been placed underneath presidential portraits on the “Presidential Walk of Fame” on the White House Colonnade, seen in this photo on Dec. 17, 2025.

    Brendan SMIALOWSKI /AFP via Getty Images


    In the months before his order for a Smithsonian review, he fired the head archivist of the National Archives and said he was firing the National Portrait Gallery’s director, Kim Sajet, as part of his overhaul. Sajet maintained the backing of the Smithsonian’s governing board, but she ultimately resigned.

    At the White House, Mr. Trump has designed a notably partisan and subjective “Presidential Walk of Fame” featuring gilded photographs of himself and his predecessors — except Biden, who is represented by an autopen — along with plaques describing their presidencies.

    The White House said at the time that Mr. Trump himself was a primary author of the plaques. Notably, Mr. Trump’s two plaques praise the 45th and 47th president as a historically successful figure, while those under Biden’s autopen stand-in describe the 46th executive as “by far, the worst President in American History” who “brought our Nation to the brink of destruction.”

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  • NASA’s New Chief Finds Loophole for Texas Shuttle Switcheroo

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    For months, Texas senators have made a controversial push to move NASA’s iconic Space Shuttle Discovery from the Smithsonian to Houston’s Johnson Space Center, a risky effort that could cost up to $150 million.

    Like any NASA leader worth his salt, newly-confirmed Administrator Jared Isaacman has come up with a contingency plan.

    In an interview with CNBC on December 23, Isaacman said relocating Discovery would depend on whether it could be done without damaging the space shuttle and within budget. If not, he suggested sending Houston a different spacecraft, such as an Orion capsule.

    “If we can’t do that, you know what, we have spacecraft going around the Moon with Artemis 2, 3, 4 and 5,” Isaacman said. “One way or another, we’re going to make sure Johnson Space Center gets its historic spacecraft right where it belongs.”

    Houston’s fight for a space shuttle

    In April, Senators John Cornyn (R-TX) and Ted Cruz (R-TX) introduced legislation to “bring Discovery home to Texas.” The core provisions of that bill were ultimately included in H.R. 1, the budget reconciliation bill signed into law on July 4.

    Unlike Cornyn and Cruz’s original bill, these provisions do not specifically name Discovery or Johnson Space Center. Rather, H.R. 1 includes $85 million for a “space vehicle transfer” of a crewed spacecraft to a NASA center involved in the agency’s commercial crew program and directs NASA to select a spacecraft to be transferred within 30 days of enactment.

    The bill also states that the selected vehicle must have flown to space, carried astronauts, and must be selected with the approval of a third party chosen by the NASA administrator. Discovery, the most-flown shuttle during its 27 years in operation, fits that bill, but it’s not the only option.

    In August, NASA said then-Acting Administrator Sean Duffy selected a vehicle, but the agency declined to say which one. Sen. Cornyn’s office later claimed the choice was a retired space shuttle bound for Johnson Space Center—without specifying which shuttle.

    Despite the uncertainty, the very prospect of moving Discovery from its home at the Smithsonian’s National Air and Space Museum has spurred efforts to block the transfer. Senate Democrats, grassroots organizers, and the Smithsonian—which technically owns Discovery—have all voiced concerns about the costly and risky disassembly the move would require.

    Discovery drama

    In a letter addressed to the relevant Congressional committees in early October, the Smithsonian said both the museum and NASA agree that Discovery will have to undergo “significant disassembly” to be moved, risking the destruction of the historic vehicle.

    The letter also estimated that the minimal cost to move Discovery is in the range of $120 million to $150 million, not including the cost of building a new facility to house the shuttle in Houston.

    Cornyn and Cruz disputed those claims, going so far as to call for a Department of Justice investigation into the Smithsonian’s “illegal lobbying” against Discovery’s move. The DOJ has yet to launch any such investigation.

    Whether NASA and the Smithsonian move forward with Discovery’s transfer remains to be seen, but a decision to give Houston an Orion capsule would likely be a much easier—and cheaper—alternative. Those spacecraft are significantly smaller than the space shuttles and can be transported by truck.

    With Isaacman taking the helm of NASA in the midst of this space shuttle saga, it’s clear he wants to find a solution that will appease both the powerful senators and the spaceflight community. In the interview, he stressed that preserving Discovery and conserving NASA’s budget are his top priorities.

    “My job now is to make sure we can undertake such a transportation within the budget dollars we have available and, of course, most importantly, ensuring the safety of the vehicle,” he said.

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    Ellyn Lapointe

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  • This dinosaur skull is one of just a few of its kind — and it’s going on display in DC – WTOP News

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    Eric and Wendy Schmidt purchased and donated the “remarkably complete” skull of Pachycephalosaurus, a dinosaur the Smithsonian said is famed for its domed head.

    Left lateral view of catalog number USNM PAL 803273, a Pachycephalosaurus skull, from the Late Cretaceous Period, Maastrichtian stage (approximately 68 to 66 million years ago), Hell Creek Formation, Perkins County, South Dakota. The skull is largely complete with missing areas restored, while the lower jaw – not photographed – is reconstructed. This specimen is from the Department of Paleobiology collections at the Smithsonian Institution’s National Museum of Natural History.(Courtesy Smithsonian Institution)

    The Smithsonian’s National Museum of Natural History has received a gift that will be hard to outdo this holiday season — a nearly complete dinosaur skull.

    It’s a gift that will keep on giving, as the public has a chance to see the approximately 67-million-year-old fossil from Dec. 22 to Dec. 28 (minus Christmas Day, when the museum is closed).

    Eric Schmidt, the former CEO of Google, and his wife Wendy purchased and donated the “remarkably complete” skull of Pachycephalosaurus, a dinosaur the Smithsonian said is famed for its domed head. The species roamed the earth alongside the most renowned dinosaurs, such as the Tyrannosaurus rex and Triceratops, at the end of the Cretaceous Period.

    The skull will make its temporary debut at the museum before it joins the permanent fossil exhibition in the coming years, the Smithsonian said in a news release.

    “This skull is by far the most spectacular specimen of this type of dinosaur that we have at the museum,” paleontologist Matthew Carrano, the museum’s curator of Dinosauria, said in the release. “We almost never get to see the animal’s face or the teeth or other parts of the head because they usually have broken away.”

    Researchers unearthed the skull in South Dakota in 2024, before the Schmidts purchased it at auction and donated it to the museum. According to Carrano, it’s one of very few known Pachycephalosaurus skulls that’s nearly complete and it probably represents a dinosaur that was not quite fully grown when it died.

    “Examining this skull and comparing it to other pachycephalosaur skulls will provide insights into how these dinosaurs changed as they grew,” the museum said in its news release.

    The scientific name Pachycephalosaurus means “thickheaded lizard.” The animals grew up to 15 feet in length.

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  • All Smithsonian museums to reopen by Monday – WTOP News

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    All of the Smithsonian’s museums will be reopened by Monday after the longest U.S. government shutdown on record kept doors closed for weeks.

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    National Zoo reopens, bringing relief to Cleveland Park businesses

    All of the Smithsonian’s museums will be reopened by Monday after the longest U.S. government shutdown on record kept doors closed for weeks.

    Smithsonian facilities, which closed Oct. 12, have been reopening on a rolling basis since the shutdown ended late Wednesday.

    Both the National Air and Space Museum and the National Museum of American History resumed operations Friday.

    The National Zoo welcomed its first post-shutdown visitors Saturday.

    By Monday, the following museums will have opened their doors as well:

    Stay with WTOP for the latest on museum reopenings in the District.

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    © 2025 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

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    Kate Corliss

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  • Smithsonian museums in DC reopen after record 43-day government shutdown – WTOP News

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    The Smithsonian’s popular National Air and Space Museum in D.C. is one of the first museums that reopened to the public Friday after a monthlong closure during the government shutdown.

    The Smithsonian’s popular National Air and Space Museum was one of the first museums that reopened to the public Friday after a monthlong closure during the government shutdown.

    The rest of the museums, and the National Zoo, are reopening over the next couple days. All are expected to be open by Monday.

    People touring the huge facility in D.C. said they’re very happy to see it reopened.

    “We live here,” Kyle Owens said. “So it’s nice to be back out.”

    Kyle and Kate Owens are happy to be playing the role of D.C.-area tour guide for their friend Josh Stewart and his son who came visit from North Carolina.

    “We planned to come see Kate and Kyle several weeks ago, I think before the shutdown and we were really looking forward to seeing everything and then we heard everything was shutdown and we thought maybe we can get these tickets on faith,” Stewart said.

    Luckily it all worked out.

    “It’s nice to take the kids out and see things open,” Kate said. “Like we prefer them to be.”

    It turns out, Kyle is a big fan of the museums.

    “It’s nice to be out and be open and take advantage of all of the things D.C. has available,” Kyle said.

    Several school groups are also resuming tours of the museums, including students from Eden, Minnesota. John and Jenna Tap were serving as chaperones for 34 high school seniors.

    John is in an administrative role at the school.

    “It’s a four-day trip. The itinerary is made before we come,” John said. “We are thankful we were able to access as much as we could in the early days. We made some adjustments. So, we are thankful we were able to get in today.”

    Along with hundreds of other people, the students saw the famous Apollo Lunar Module, the Wright Brothers’ first aircraft and dozens of other aviation-related exhibits.

    “We’ve really enjoyed the historical aspect of it,” John said. “This is my first time in D.C. This is my first science museum. Our students are walking around, having a great time.”

    Museum officials said, because of the government shutdown, some exhibits at the Smithsonian’s museums may reopen on a delay, but it is nothing that visitors would notice.

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  • ‘Huge difference’: DC businesses feel impact of National Zoo’s closure — and reopening – WTOP News

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    A bakery near the National Zoo is celebrating the impending return of zoo visitors after seeing a drop in foot traffic and sales during the government shutdown.

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    National Zoo reopens, bringing relief to Cleveland Park businesses

    The District’s Cleveland Park neighborhood lives and breathes around the Smithsonian National Zoo and its pandas.

    But for the past 40-odd days, businesses around the zoo have faced a diminishing wave of customers due to the zoo’s closure during the federal government shutdown.

    In recent years, new shops along Connecticut Avenue have leaned into the panda theme, hoping to capture some of the millions of people who normally visit the D.C. zoo each year.

    One longtime neighborhood staple is Baked by Yael, a nut-free, kosher bakery that specializes in bagels and “Panda Pops.”

    “The zoo has the cute animals. They go see the animals, and then they come across the street to us. And if the zoo is closed, they’re not coming,” said Yael Krigman, the owner and president of Baked by Yael.

    She’s no stranger to navigating uncertain times. Last year, her business took a hit when D.C.’s pandas temporarily left the area.

    “We’ve been making Panda Pops throughout the entire shutdown, because everybody needs a little joy, even during a government shutdown,” Krigman added.

    Even with strong community support, the impact was clear.

    “We’ve been very lucky that we have the support of a community around us, and so we’ve definitely had some foot traffic,” Krigman said.

    But Krigman said the bakery missed out on potential business from the missing zoo visitors. Last year, about 1.6 million people checked out the National Zoo.

    “There’s a huge difference,” Krigman said. “We pay rent to be across the street from the National Zoo. When the zoo is closed, our sales go down significantly. There’s no walk-in traffic.”

    And this is not the first government shutdown her bake shop has had to weather.

    “Sadly, this is not our first government shutdown, so we are accustomed to pivoting and hustling,” Krigman said. “We stay in business no matter what the government is doing. Whether they’re at work or not, we are at work.”

    During this latest shutdown — just as in 2019 — Baked by Yael offered free meals to zookeepers and treats and bagels to federal workers.

    “We’re really happy that the government is open and that the zoo is going to be open, and that is a huge relief for all of us,” Krigman told WTOP. “But we work non-stop no matter what.”

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  • Inside the Messy, Accidental Kryptos Reveal

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    Jim Sanborn couldn’t believe it. He was weeks away from auctioning off the answer to Kryptos, the sculpture he created for the CIA that had defied solution for 35 years. As always, wannabe solvers kept on paying him a $50 fee to offer their guesses to the remaining unsolved portion of the 1,800-character encrypted message, known as K4—wrong without exception. Then, on September 3, he opened an email from the latest applicant, Jarett Kobek, which started, “I believe the text of K4 is as follows …” He’d seen words like this thousands of times before. But this time, the text was correct.

    “I was in shock,” Sanborn tells me. “Real serious shock.” The timing was awful. Sanborn, who turns 80 this year, saw the auction as a way for someone to continue his work of vetting potential solutions while maintaining the mystery of Kryptos. He’d also been looking forward to getting compensated for his work. What came next was even more shattering. He quickly got on the phone with Kobek and his friend Richard Byrne, who gobsmacked him by reporting they did not find the solution by codebreaking. Instead, Kobek had learned from the auction notice that some Kryptos materials were held at the Smithsonian’s Archives of American Art in Washington, DC. Kobek, a California novelist (one of his books is called I Hate the Internet), got his friend, the playwright and journalist Byrne, to photograph some of the holdings. To Kobek’s astonishment, two of the images contained a 97-character passage with words that Sanborn had previously dropped as clues. He was staring at the full unencrypted text that CIA and NSA codebreakers, along with countless academics and hobbyists, had sought for decades.

    The secret of Kryptos was out of the artist’s hands, in the most humiliating way imaginable—Sanborn himself had mistakenly submitted it in readable form to the museum. For 35 years the Kryptos plaintext had been a summit that none had reached. Suddenly some had attained it—not by climbing to the peak but by hitching a ride to the top. Sanborn’s grand vision for a piece of art that illuminated the idea of secrecy itself was imperiled—as was the auction. Now he had to figure out what to do about it.

    Enter: The Media

    The initial phone call had been friendly. Kobek and Byrne insisted that they did not want to mess up the auction. After he hung up, Sanborn called the auction house. That’s when things started going sideways. As Sanborn tells me, “They said, ‘Listen, see if the guys will sign NDAs, and see if they’ll take a portion of the proceeds.’ And I said, ‘Oh geez, man, I don’t know about that. But I offered it.’”

    Kobek and Byrne were uncomfortable with that arrangement and refused to sign. (RR Auction executive vice president Bobby Livingston didn’t comment on the legal issue but says of an NDA, “It’s something that would be comforting to our clients.”) Sanborn told them his intent was to get the Smithsonian to freeze the archives—which it did. He assumed Kobek and Byrne would stay silent. “If you don’t release it, you’re heroes to me,” Sanborn told them.

    “I thought everything was OK,” he says, “And then all of a sudden [the journalist] John Schwartz calls me and says these guys want to publish it in The New York Times.” Kobek explains to me that they contacted Schwartz in part to relieve some legal pressure. “There was threat after threat being sent to us from the auction house’s lawyers, threatening to sue us for a multitude of things,” he says. (When I ask Livingston if his lawyers have been contacting Kobek, he says, “There’s lawyers talking to each other,” and adds that there may well be copyright concerns if Kobek and Byrne published the plaintext.) On October 16, Schwartz published his scoop, informing the world that the plaintext was out.

    Sanborn tells me that Kobek shared the plaintext with Schwartz over the phone. When asked about this, Kobek says, “I cannot speak about that…I am under significant legal peril.” Schwartz says. “Once my editors decided it would not be revealed in the story, I deleted the text from my interviews file. I don’t know it.” (So don’t bug him.)

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  • Government shutdown causes a real Boo at the Zoo – WTOP News

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    Visitors are expressing their disappointment that the Smithsonian museums and National Zoo will be closed to the public due to the government shutdown.

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    Government shutdown causes a real Boo at the Zoo

    The National Zoo’s annual event, Boo at the Zoo, has a new meaning this year.

    It took until day 11 of the federal government shutdown before the Smithsonian museums and the National Zoo in D.C. had to shut their doors and gates to the public for the last time.

    They both were using last year’s funds to stay open during the shutdown.

    The line to pull into the parking lot of the National Zoo was backed up on Connecticut Avenue on Saturday, as both tourists and locals attempted to get one last peak at their favorite animals.

    Eight-year-old Molly was posing by the massive letters spelling out zoo while her mother took pictures.

    “I saw pandas, I saw the sloth bear, and I went into the big ape house,” said Molly. “My mom said we can get ice cream.”

    Molly and her mother Bettina were visiting from Palm Beach, Florida, and went to between four and five different Smithsonian museums since they arrived on Wednesday.

    “I think that we’ll see a resolution soon, I hope, and in the meantime, I do hope that all the furloughed workers see their back pay,” said Bettina.

    A lot of locals look at the zoo and the Smithsonian with pride when they show out-of-town guests their home city.

    One of those is Vanessa Furtado, who along with her husband and son, brought her parents, who are visiting from Chicago, to the zoo.

    “The fact that everything is free for people to come and see, is a big draw for folks,” said Furtado. “Big bummer when it’s shut down.”

    Furtado was asked if she had a message for those in Congress.

    “Come to the table and start talking to each other, hardworking government employees who are doing their jobs not getting paid. So, let’s end the shenanigans,” said Furtado.

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    Jimmy Alexander

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  • Human heart-monitoring devices find new life helping biologists understand threatened species

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    During his regular checkup, a 9-year-old clouded leopard named Masala undergoes a procedure to get a tiny heart monitor implanted under his skin at the Smithsonian’s Conservation Biology Institute in Front Royal, Virginia.

    Rosana Moraes, a Brazilian biologist, studies how high-stress levels in animals can hinder their ability to thrive and breed. Masala’s new heart monitor will record changes in his body temperature, hydration and heart rate — which all tell a lot about an animal’s level of stress and anxiety.

    Moraes calls it a “gigantic” leap forward in animal care.

    Clouded leopards are agile climbers that live in trees. In the wild, their population is in steep decline due to habitat destruction and illegal hunting for their coats and body parts. Masala is part of a breeding program to help preserve the vulnerable species. Lately he’s been anxious and biting his tail, and they’re not exactly sure why. The heart monitor will help biologists understand the exact moments when Masala becomes stressed.

    In the wild, using a minimally invasive procedure, the Smithsonian says it has implanted these tiny Bluetooth heart monitors in eight species around the world, including giant anteaters in South America.

    Tim Laske, a biologist who studies bears, is also the vice president of research at Medtronic — the world’s largest medical device company — which donates the technology. The heart monitors are designed for humans, but Laske realized expired devices still had many years of life in them and could help with our understanding of animals.

    “We’ve implanted more than 600 over the years. And these are all devices that would otherwise have been disposed of,” Laske said.

    Because of these monitors, scientists can now use data to assess which captive maned wolves, for example, have the best temperament to thrive in the wild or when a pack of scimitar-horned oryx out in the wild is stressed by humans encroaching on their habitat.

    For Moraes, the ability to visualize data in animals that was previously hidden excites her the most about the technology, offering powerful insights on a planet where our own activities are rapidly pushing beloved species closer to extinction.   

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  • Man dies on National Mall after being trapped underneath race car painted by Andy Warhol – WTOP News

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    A man trying to load an “art car” painted by Andy Warhol onto a truck at the National Mall in D.C. has died after he became trapped underneath the vehicle.

    A man trying to load an “art car” painted by Andy Warhol onto a truck at the National Mall in D.C. has died after he became trapped underneath the vehicle.

    It happened just before 3 p.m. Wednesday at 14th Street and Jefferson Drive in Southwest. U.S. Park Police found the man with critical injuries along the area where several Smithsonian museums are located.

    After attempting life-saving measures, the man was pronounced dead, a Park Police spokesperson said. The incident appears accidental in nature, police said.

    Medics treated the injured person, who was pronounced dead. Their name was not immediately released. D.C. police are taking over the investigation and had detectives headed to the scene, according to NBC4 Washington.

    The Hagerty Drivers Foundation, a nonprofit dedicated to car culture and history, is hosting its annual “Cars at the Capital” exhibition on the National Mall. The 1979 BMW M1 painted by Warhol was set to be on display in a glass enclosure through Sept. 23, authorities told NBC 4 Washington.

     

    A person loading a vehicle onto a truck has died. (Courtesy Google Maps)

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    Abigail Constantino

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  • National civil rights museum beyond Trump’s immediate reach expanding

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    Atlanta — A popular museum in Atlanta is expanding at a critical moment in the United States – and unlike the Smithsonian Institution, the National Center for Civil and Human Rights is privately funded, putting it beyond the immediate reach of Trump administration efforts to control what Americans learn about their history.

    The months-long renovation, which cost nearly $60 million, adds six new galleries as well as classrooms and interactive experiences, changing a relatively static museum into a dynamic place where people are encouraged to take action supporting civil and human rights, racial justice and the future of democracy, said Jill Savitt, the center’s president and CEO.

    Jill Savitt, president and CEO of The National Center for Civil and Human Rights, describes the museum’s expansion during a hard-hat tour on Sept. 10, 2025 in Atlanta.

    Michael Warren / AP


    The center has stayed active ahead of its Nov. 8 reopening through K-12 education programs that include more than 300 online lesson plans; a LGBTQ+ Institute; training in diversity, equity and inclusion; human rights training for law enforcement; and its Truth & Transformation Initiative to spread awareness about forced labor, racial terror and other historic injustices.

    These are the same aspects of American history, culture and society that the Trump administration is seeking to dismantle.

    Dreamed up by civil rights icons Evelyn Lowery and Andrew Young, the center opened in 2014 on land donated by the Coca-Cola Company, next to the Georgia Aquarium and The World of Coca-Cola, and became a major tourist attraction. But ticket sales declined after the pandemic.

    Now the center hopes to attract more repeat visitors with immersive experiences like “Change Agent Adventure,” aimed at children under 12. These “change agents” will be asked to pledge to something – no matter how small – that “reflects the responsibility of each of us to play a role in the world: To have empathy. To call for justice. To be fair, be kind. And that’s the ethos of this gallery,” Savitt said. It opens next April.

    “I think advocacy and change-making is kind of addictive. It’s contagious,” Savitt explained. “When you do something, you see the success of it, you really want to do more. And our desire here is to whet the appetite of kids to see that they can be involved. They can do it.”

    This ethos is sharply different from the idea that young people can’t handle the truth and must be protected from unpleasant challenges but, Savitt said, “the history that we tell here is the most inspirational history.”

    “In fact, I think it’s what makes America great. It is something to be patriotically proud of. The way activists over time have worked together through nonviolence and changed democracy to expand human freedom – there’s nothing more American and nothing greater than that. That is the lesson that we teach here,” she said.

    “Broken Promises,” opening in December, includes exhibits from the post-Civil War Reconstruction era, cut short when white mobs sought to brutally reverse advances by formerly enslaved people. “We want to start orienting you in the conversation that we believe we all kind of see, but we don’t say it outright: Progress. Backlash. Progress. Backlash. And that pattern that has been in our country since enslavement,” said its curator, Kama Pierce.

    On display will be a Georgia historical marker from the site of the 1918 lynching of Mary Turner, pockmarked repeatedly with bullets, that Turner descendants donated to keep it from being vandalized again.

    “There are 11 bullet holes and 11 grandchildren living,” and the family’s words will be incorporated into the exhibit to show their resilience, Pierce said.

    Items from the Morehouse College Martin Luther King Jr. collection will have a much more prominent place, in a room that recreates King’s home office, with family photos contributed by the center’s first guest curator: his daughter, the Rev. Bernice King. “We wanted to lift up King’s role as a man, as a human being, not just as an icon,” Savitt explained.

    Gone are the huge images of the world’s most genocidal leaders – Hitler, Stalin and Mao among others – with explanatory text about the millions of people killed under their orders. In their place will be examples of human rights victories by groups working around the world.

    “The research says that if you tell people things are really bad and how awful they are, you motivate people for a minute, and then apathy sets in because it’s too hard to do anything,” Savitt said. “But if you give people something to hope for that’s positive, that they can see themselves doing, you’re more likely to cultivate a sense of agency in people.”

    And doubling in capacity is an experience many can’t forget: Joining a 1960s sit-in against segregation. Wearing headphones as they take a lunch-counter stool, visitors can both hear and feel an angry, segregationist mob shouting they don’t belong. Because this is “heavy content,” Savitt says, a new “reflection area” will enable people to pause afterward on a couch, with tissues if they need them, to consider what they’ve just been through.

    The center’s expansion was seeded by Home Depot co-founder and Atlanta philanthropist Arthur M. Blank, the Mellon Foundation and many other donors, for which Savitt expressed gratitude: “The corporate community is in a defensive crouch right now – they could get targeted,” she said.

    But she said donors shared concerns about people’s understanding of citizenship, so supporting the teaching of civil and human rights makes a good investment.

    “It is the story of democracy – Who gets to participate? Who has a say? Who gets to have a voice?” she said. “So our donors are very interested in a healthy, safe, vibrant, prosperous America, which you need a healthy democracy to have.”

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  • Smithsonian wrestles with independence as White House review picks up – WTOP News

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    The Smithsonian Institution is facing a deadline to hand over information to the White House related to a review of its exhibitions by Friday, as it navigates an unprecedented degree of scrutiny of its museums.

    Washington, D.C. (CNN) — The Smithsonian Institution is facing a deadline to hand over information to the White House related to a review of its exhibitions by Friday, as it navigates an unprecedented degree of scrutiny of its museums.

    The review is part of an ongoing effort from the Trump administration to align prominent institutions with his cultural agenda, which has raised questions over whether the White House should have a say on content showcased at the nation’s leading museums.

    While the Smithsonian, a unique public-private trust, does not consider itself an executive agency, President Donald Trump, through an executive order, has tasked aides with rooting out “woke” ideology and what it considers anti-American propaganda at the institution.

    Lindsey Halligan, the Trump aide leading his review of the Smithsonian, told CNN that it considers White House oversight appropriate because “the Smithsonian is not an autonomous institution, as 70% of its funding comes from taxpayers.”

    In an August letter from the White House, the Smithsonian was asked to turn over a wide array of materials, from gallery labels to future exhibition plans and internal communications about artwork selection.

    Friday is the first of three deadlines given by the White House for its review of the Smithsonian and its planned programming for America’s 250th birthday, to be celebrated next July.

    The Smithsonian, which is conducting its own review, has assembled a team to respond to the administration’s requests.

    It comes as the leader of the nearly two-century-old institution, Lonnie Bunch III, treads a fine line between maintaining a cordial, working relationship with the White House and defending the organization’s independence, according to multiple sources familiar with the matter who asked not to be named as they were not authorized to speak publicly.

    One source with knowledge of internal conversations at the Smithsonian told CNN that, from their perspective, Bunch appears to be “holding the line as much as he can.”

    Leadership at the National Museum of African American History and Culture (NMAAHC), which has been targeted by Trump for focusing too much on “how bad slavery was,” told staff earlier this year that programming is not expected to shift despite the executive order, according to several of the sources who spoke to CNN.

    However, even as Bunch is being urged by members of the Smithsonian’s Board of Regents, which governs the institution, to continue to assert its independence, artists who spoke to CNN have noted that the environment is already driving controversial decisions affecting the Smithsonian.

    Bunch could not immediately be reached for comment.

    Halligan called the White House review “non-negotiable,” saying in a statement: “The American taxpayers deserve nothing less, which is why the White House will ensure the audit is conducted impartially.”

    The Smithsonian under pressure

    While the Smithsonian has faced criticism over its exhibitions over the years, it has never been subject to a White House review. Still, the Smithsonian is not immune to pressure from the federal government, which funds two-thirds of its billion-dollar budget.

    Since Trump’s second term, the Smithsonian has made moves that have prompted concerns from artists and independent arts organizations about whether the museum complex will be able to maintain its independence.

    On Friday, two artists who were scheduled to speak at a Smithsonian symposium on its exhibit, “The Shape of Power,” withdrew from the program, citing concerns that the event had been clouded by “censorship.” The symposium had originally been planned as an open event, but was changed to invite-only.

    One person with knowledge of the Smithsonian’s decision told CNN this was its partly “to stay off the radar” and “partly out of safety for artists and speakers who are afraid of MAGA people showing up.”

    President Trump specifically took aim at “The Shape of Power” in the executive order directing the Smithsonian review, where he took issue with the exhibition in part because it “promotes the view that race is not a biological reality but a social construct.”

    In a statement shared with CNN, Nicholas Galanin, one of the artists who withdrew from the symposium, said: “I cannot participate in the symposium and remain in alignment with my moral convictions. The decision to make the symposium a private event with a curated guest list and request that we not record or share it on social media effectively censors those of us who would be participating.”

    A spokesperson for the Smithsonian said that the symposium was a venue for scholarship and “never designed as an event for the general public,” but that “participants were encouraged to share the invitation with their networks.”

    “Because not all participants consented to being recorded, the decision was made not to document in this manner, including on social media,” she said in a statement, adding: “We are disappointed that Nicholas Galanin will not participate in the symposium but respect his decision and thank him for his important contributions to this groundbreaking exhibition.”

    In January, the Smithsonian eliminated its Office of Diversity after Trump issued an executive order threatening federal investigations for “illegal DEI” (diversity, equity and inclusion).

    Months later in March, Trump targeted what he called “improper ideology” at the Smithsonian via executive order, putting Vice President JD Vance in charge of stopping government spending on exhibits that don’t align with his agenda.

    Sasa Aakil, an artist and poet, said some of her and her colleagues’ work was cut before a poetry reading at a NMAAHC event in May commemorating Malcolm X. She said she was told by event organizers that the institution had cut some of poems, which were about racial justice and other related things, because the institution was very cautious due to increased scrutiny from the White House.

    The Smithsonian did not return CNN’s request for comments on the incident.

    In June, Trump claimed that he was firing the Smithsonian’s National Portrait Gallery director, Kim Sajet, over her alleged partisanship and support for DEI. Later, the Smithsonian publicly stated that the president has no authority over personnel decisions, but Sajet resigned a few weeks after being targeted by Trump.

    Then, in July, artist Amy Sherald canceled a major Smithsonian exhibition of her work that had been due to run this fall, citing censorship over one of her paintings depicting the Statue of Liberty modeled after a transgender artist. The Smithsonian denied that it had censored Sherald and said that they had asked to include a video that would contextualize the painting, before Sherald ultimately decided to withdraw her show.

    And in August, the Smithsonian faced public outcry after the National Museum of American History removed a temporary placard referencing Trump’s two impeachments from an exhibit related to the presidency.

    In follow-up statements, the museum system insisted the removal was temporary and denied it had been pressured by any government official to make changes to its exhibits. It was reinstalled days later with some changes.

    Looking towards the future

    Amid Trump’s dissatisfaction with the Smithsonian will come an opportunity to reshape its leadership, though indirectly. The Board of Regents selects the Smithsonian’s leader, and some of its 17 members are supposed to be ultimately approved by the president.

    The other members include six lawmakers from Congress and regents from the public, with Vice President Vance serving as an ex officio member. Chief Justice John Roberts serves as the head.

    Six of the nine general public regents’ spots have terms that end in 2026, giving Trump a chance to expand his influence on the board before the midterm elections shake up Congress. New board members are appointed via congressional joint resolutions, which the president must sign into law.

    Michigan Sen. Gary Peters, a Democrat who sits on the board, told CNN he believes Bunch is doing “a very good job,” and insisted that the Smithsonian already “goes out of its way” to make sure its exhibits are free of bias.

    In a letter last week , Peters, along with Sen. Catherine Cortez Masto, who is also on the Board of Regents, and two other Senate Democrats urged Bunch to safeguard the institution’s independence. They also asked the Smithsonian to share any materials given to the White House with Congress.

    House Democrats have also echoed support for the institution. Rep. Joe Morelle, the top Democrat on the House panel that oversees the Smithsonian, told CNN in a statement that Bunch and Smithsonian experts “objectively and accurately tell the American story.”

    Bunch, a historian and curator who is well-regarded throughout the museum world, navigated rough political waters before as the founding director of the NMAAHC.

    He even wrote in a 2019 memoir that the “Smithsonian could easily become a pawn in larger political debates.”

    He also detailed what it was like when Trump visited the NMAAHC for the first time in 2017. Trump showed enthusiasm during the parts of the tour that highlighted the contributions of neurosurgeon Ben Carson and boxer Muhammad Ali. Trump later praised the museum for sharing “the great struggle for freedom and equality that prevailed against the sins of slavery and the injustice of discrimination.”

    But in his second term, the president changed his tune. Last month, he escalated his attacks on the Smithsonian, claiming in a post on social media that “everything discussed is how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been — Nothing about Success, nothing about Brightness, nothing about the Future.”

    Yet a White House official said Trump had a “productive and cordial lunch meeting” with Bunch a few days later. He struck a positive tone on the Smithsonian this week, declaring the institution was in the process of making “big changes.”

    “You know, they were also told what to do by people that came before me, in all fairness, but they’re making changes,” he said.

    The institution has yet to announce any changes to its exhibitions. The Trump His administration has given the Smithsonian until December to implement any “corrections” to its content. It’s unclear at this moment how the White House could enforce that request.

    CNN’s Michael Williams contributed to this report.

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  • Trump Sees Whitewashed U.S. Past and Dystopian Present

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    Photo: Eric Lee/Bloomberg/Getty Images

    There’s something increasingly strange about Donald Trump’s ongoing — indeed, intensifying — campaign to demand the sunniest possible view of American history from any institution he can influence or control. He made this an official priority in a March 27 executive order.

    “It is the policy of my Administration to restore Federal sites dedicated to history, including parks and museums, to solemn and uplifting public monuments that remind Americans of our extraordinary heritage, consistent progress toward becoming a more perfect Union, and unmatched record of advancing liberty, prosperity, and human flourishing,” the order read.

    Trump went on to say Washington, D.C., museumgoers must not be “subjected to ideological indoctrination or divisive narratives that distort our shared history.” The order threatened to withhold Smithsonian Institution funding if it did not restore itself into a “symbol of inspiration and American greatness — igniting the imagination of young minds, honoring the richness of American history and innovation, and instilling pride in the hearts of all Americans.”

    And he demanded that the Department of the Interior ensure that all public monuments under its jurisdiction “do not contain descriptions, depictions, or other content that inappropriately disparage Americans past or living (including persons living in colonial times), and instead focus on the greatness of the achievements and progress of the American people or, with respect to natural features, the beauty, abundance, and grandeur of the American landscape.”

    While he was at it, Trump ordered the reversal of steps to remove monuments during the Biden administration in a transparent effort to restore Confederate and neo-Confederate propaganda displays.

    This wasn’t a passing fancy. Trump keeps coming back to the dire need to whitewash American history, as in this recent Truth Social tirade:

    What makes this hostility to any evidence that America, over two and a half centuries, has lacked even a scintilla of Greatness so very strange is that no one has said more nasty and disparaging things about our country than Donald J. Trump during the most recent Democratic administrations.

    Trump’s first Inaugural Address is remembered as the “American Carnage” speech because of its relentless picture of a desolate nation betrayed by its leaders. He said:

    For many decades, we’ve enriched foreign industry at the expense of American industry;

    Subsidized the armies of other countries while allowing for the very sad depletion of our military;

    We’ve defended other nation’s borders while refusing to defend our own;

    And spent trillions of dollars overseas while America’s infrastructure has fallen into disrepair and decay.

    We’ve made other countries rich while the wealth, strength, and confidence of our country has disappeared over the horizon.

    One by one, the factories shuttered and left our shores, with not even a thought about the millions upon millions of American workers left behind.

    The wealth of our middle class has been ripped from their homes and then redistributed across the entire world.

    Where’s the “Success” and “Brightness” in that portrait of America?

    But that speech is indeed downright sunny compared to the depiction of America as a violent hellhole — indeed, as a failed state — presented by Trump every single day during his 2024 comeback campaign. According to his stump speech, the country was in the grip of vast immigrant gangs brought in to bankrupt the federal government, vote illegally (by the millions!), and “destroy democracy.” Worse yet, one of the country’s two major political parties was totally led and mostly supported by people who “hate America” and were fully in on the conspiracy to convert it into a magnet for the “worst people in the world” who poured out of prisons and mental institutions to take over our communities.

    Even today, the president is still talking about this country as a vast dystopia. Again and again, he is claiming emergency conditions to justify his dramatic demands for unlimited executive powers. He speaks of our cities as ravaged by out-of-control crime so severe that a military response is necessary, hand-in-glove with a mass-deportation effort he constantly boasts of as unlike anything the country has seen before.

    So as he nobly struggles to restore this hell on Earth, Trump is equally concerned with ensuring that the 232 years of American history leading up to the Obama and Biden eras are remembered with a gauzy glow inspiring gratitude, pride, and optimism.

    No wonder his followers want to find veterans of those despicable administrations and lock them up. It was a perfect nation until 2008. And soon our museums will say so.


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    Ed Kilgore

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  • How a Smithsonian lab is helping threatened species get off the endangered list

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    The animals that live on the Smithsonian Conservation Biology Institute’s sprawling 32,000 acres in Northern Virginia are connected by one thing: the threat of extinction.

    Tucked away in the foothills of the Blue Ridge Mountains, more than 20 species at risk of extinction, including Mongolia’s Przewalski’s horse, which disappeared from the wild at the end of the 1960s, live on the institute’s grounds. There are red pandas, maned wolves, and clouded leopards, to name a few more.

    The institute studies a species’ reproduction, ecology, genetics, migration, and conservation sustainability, with the ultimate goals of saving wildlife from extinction and training future conservationalists. In certain cases, the scientists are responsible for breeding and reintroducing them to their habitats.

    But those who work to conserve these species and remove them from the endangered species list are still concerned with the rate at which species are vanishing. 

    “We’re seeing species disappearing at 10, 100, to 1000 times the normal background rate,” SCBI conservation biologist Melissa Songer told CBS News. 

    The International Union for Conservation of Nature warned in early 2025 that 28%, or more than 47,000, of the world’s assessed species are at risk of extinction. That number includes more than just animal species, showing crucial insect, plant and tree species are also threatened. 

    “So we think, okay, well, we’re losing the species here and there, you know, there’s a lot of other species,” Songer says, “but the thing is, that when we lose one species, it has cascading effects.”

    A great example of this effect is with the black-footed ferret, which originally inhabited the North American Great Plains but has been endangered since 1967.
    While the species remains on the endangered list, its population has grown since preservation efforts began at the Institute. 

    “Every animal in the ecosystem is important for that ecosystem,” says Adrienne Crosier, a cheetah biologist at SCBI, “they all have a really important role to play.”

    When it comes to the black-footed ferret, Crosier says they are “a mix of predator and prey for other larger carnivores,” meaning that other animals are left without a food source in the ferret’s absence.

    “Anytime you take a species completely out of the ecosystem, you cause an imbalance in that ecosystem,” Crosier says.

    Crosier’s team is currently caring for approximately 60 ferret kits, which will be released into the Colorado wild in the Fall.

    “Whenever we have offspring born, I feel like we did our job,” Crosier says with a smile.

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  • Trump is wrong: Smithsonian does feature success, brightness

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    WASHINGTON — Just days after taking over Washington, D.C., law enforcement, President Donald Trump criticized one of the district’s preeminent tourist attractions: the Smithsonian Institution.

    The Smithsonian, founded in 1846, is a federally chartered network of 21 museums, 21 libraries, 14 education and research centers and a zoo, many with prime locations on the National Mall. The institution is celebrated for its free admission. 

    According to Trump, though, the Smithsonian is “the last remaining segment of ‘WOKE.’” 

    “The Smithsonian is OUT OF CONTROL, where everything discussed is how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been — Nothing about Success, nothing about Brightness, nothing about the Future,” Trump posted on Truth Social on Aug. 19. 

    This followed Trump’s other efforts to review and alter some of the museum’s exhibits, including by executive order.

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    On Aug. 12, the White House sent a letter to Secretary of the Smithsonian Lonnie G. Bunch saying it will conduct a “a comprehensive internal review of selected Smithsonian museums and exhibitions,” ahead of the nation’s 250th anniversary next year. 

    Trump’s depiction misrepresents the Smithsonian museums’ expansiveness and their portrayal of U.S. history. It was also a departure from 2017 comments he made about the Smithsonian’s National Museum of African American History and Culture in which he called it “a beautiful tribute to so many American heroes.”

    “I’m deeply proud that we now have a museum that honors the millions of African American men and women who built our national heritage, especially when it comes to faith, culture and the unbreakable American spirit,” he said at the time.

    Slavery lasted more than 200 years and involved millions of people enslaved over generations. Its violence, brutality and complexities are reflected in Smithsonian museum exhibits. But the museums, which also address science, art and technology, are filled with many celebrations of American achievement, patriotism, success and innovation — including many of the most popular exhibits.

    PolitiFact reporters toured three of the most visited Smithsonian museums the day after Trump’s comments.

    The White House did not respond to an inquiry for this article.

    Black Americans’ success on display

    Trump’s concern that the museums discuss only “how bad slavery was” could be directed at the National Museum of African American History and Culture. It opened in 2016 and unabashedly details slavery’s horrors. But it includes much more. 

    A walk through the museum’s six levels reveals its overwhelming focus on Black Americans’ resilience, strength and success.

    The top two floors celebrate Black Americans’ achievement and cultural influence.

    Musician and rock & roll pioneer Chuck Berry’s red Cadillac Eldorado. (Grace Abels / PolitiFact) 

    Rooms are packed with memorabilia from iconic Black musicians: the Oscar De La Renta gown Whitney Houston wore while performing “The Greatest Love of All” in New York in 1986, Prince’s lavender suit, Chuck Berry’s red Cadillac Eldorado, and Louis Armstrong’s custom-made trumpet. Another top floor wing focuses on Black Americans’ legacy in film, television and theater, highlighting stars such as Will Smith, Oprah Winfrey and Paul Robeson. Another wing celebrates Black athletes including Jackie Robinson, Muhammed Ali and Serena Williams. 

    An exhibit displaying photos of Black Americans successful in television, film, comedy, theater and dance. (Grace Abels / PolitiFact) 

    The exhibits don’t ignore racism and segregation’s influence on their lives and careers, but often focus on how their work opened doors, defied stereotypes and helped dismantle oppressive systems. 

    Statue of Jesse Owens, track and field athlete and record-setting gold medalist at the 1936 Berlin Olympics. (Grace Abels / PolitiFact) 

    A third-floor exhibit titled “Making a Way Out of No Way,” also highlights Black Americans’ accomplishments. It includes a section on Dr. Ben Carson, a neurosurgeon who ran for president and served as the U.S. Housing and Urban Development secretary during Trump’s first term. 

    An exhibit featuring hospital scrubs and other items belonging to Dr. Ben Carson. (Grace Abels / PolitiFact) 

    Trump praised Carson’s inclusion in the exhibit during his 2017 visit, and called out other featured figures —”heroes like Sojourner Truth, Harriet Tubman, Frederick Douglass, Booker T. Washington, Rosa Parks, the Greensboro students, and the African American Medal of Honor recipients, among so many other really incredible heroes,” he said.


    The National Museum of African American History and Culture is also popular: It
    tied for fourth in attendance among Smithsonian properties in 2024, with 1.6 million visitors.

    The museums focus on patriotism 

    Smithsonian museums are also chock full of patriotic items and exhibits celebrating American culture.

    A centerpiece of the National Museum of American History — the second-most visited Smithsonian property, with 2.1 million visitors in 2024 — is the battle-scarred flag that inspired “The Star-Spangled Banner.” The museum describes it as “a national treasure.” 

    The Star Spangled Banner from the War of 1812 that inspired the national anthem at the National Museum of American History. (Louis Jacobson / PolitiFact)

    A marble statue of President George Washington towers over visitors, and the exhibit on the American Revolution cheers the “common men” who made it possible. 

    One of the museum’s most popular exhibits is the collection of first ladies’ inaugural gowns. Visitors can purchase red-white-and-blue jewelry in the main level gift shop.

    The first ladies’ inaugural gown exhibit at the National Museum of American History. (Louis Jacobson / PolitiFact)

    Patriotism also runs deep through the American history museum’s extensive military exhibit. It includes musket-toting mannequins, field cannons, large paintings of Civil War battles and World War II victory newspaper headlines. The exhibit includes both a picture of a whipped slave and a Confederate battle flag, and it ends at a room honoring recipients of the Medal of Honor, the nation’s highest award for military service.

    The National Air and Space Museum is similarly patriotic. The museum — the Smithsonian’s third-most popular, with 1.9 million visitors in 2024 — marks the United States’ leading role in reaching outer space. 

    A NASA spacesuit at the National Air and Space Museum. (Louis Jacobson / PolitiFact)

     

    As for “brightness,” it’s hard to ignore the nonpartisan pop culture icons at the American history museum, from Kermit the Frog to “Star Wars” droids and basketball legend Michael Jordan.

    Muppets at an exhibit on popular culture at the National Museum of American History. (Louis Jacobson / PolitiFact)

    Exhibits highlight American innovation and future technology

    Both the American history and air and space museums honor American innovation and achievement. The air and space museum’s most famous exhibits include the Wright Brothers’ airplane, the “Spirit of St. Louis,” which Charles Lindbergh flew across the Atlantic, and relics from the many U.S. missions to the moon.

    The American history museum devotes a hall to “invention and innovation” and another to achievements in business, which notes the successes of Gilded Age business titans like the Rockefellers and Carnegies while acknowledging that their excesses prompted political reforms. 

    By nature, museums are largely backward-looking, but one can also find some peeks into the future. The air and space museum includes a capsule from Amazon founder Jeff Bezos’ space company, Blue Origin, while another section ponders how the space sector can help improve agriculture. The future plays a major role in the Smithsonian’s strategic plan, which is titled “Smithsonian 2027: Our Shared Future”

    “Woke-ism” vs. nuance

    Given his political agenda on gender identity and climate change, some exhibits might meet Trump’s description of “woke.” 

    At the American history museum, a display on the ground floor says, “The struggle for equal opportunity in sports began long before Title IX became law in 1972. And it continues today as transgender, nonbinary, and cisgender female athletes demand equality. Where does the fight for fair play in sports go from here?” (Trump has sought to enforce a policy to ban transgender women from participating in women’s sports in schools.)

    The National Air and Space Museum includes an exhibit titled, “Aerospace and Our Changing Environment” that casts climate change as a “global threat,” something most scientists agree with but which many in Trump’s administration have cast doubt upon.

    Both museums highlighted contributions by Americans of varying ethnic and racial backgrounds, and the American history museum frequently offered captions that were translated into Spanish.

    However, the museums largely approach American identity with nuance, rooted in fundamental national texts like the U.S. Constitution.      

    One section of the American history museum — titled “Many Voices, One Nation,” a name that echoes the national motto “E Pluribus Unum,” or “From many, one” — says, “As the population grew, the people who lived in the United States found ways to work out, or negotiate, what it meant to be American. That negotiation continues.”

    Another section, on the American experiment in democracy, ends with a direct quote from the Declaration of Independence.

    An exhibit on Thomas Jefferson at the National Museum of African American History and Culture. (Grace Abels / PolitiFact)

    In the National Museum of African American History and Culture, Thomas Jefferson’s liberating words from the Declaration of Independence that “all men are created equal” are emblazoned on the wall while a bronze statue of him stands in front of bricks carved with the names of the 609 men and women he enslaved — including his own children.

    Our ruling

    Trump said the Smithsonian Institution has “Nothing about Success, nothing about Brightness, nothing about the Future.”

    The Smithsonian seeks to tell the full, complicated story of the U.S., including slavery.

    Visits to three of the Smithsonian 21 museums make clear that Trump’s view that its museums dwell only on the negative is wrong. 

    The National Museum of African American History and Culture spends much of its focus on Black Americans’ gains since slavery’s end. The National Museum of American History features key patriotic items from history, the military and pop culture. And the National Air and Space Museum is a monument to American technological ingenuity and global — and interplanetary — achievements.

    We rate the statement Pants on Fire.

    PolitiFact Researcher Caryn Baird contributed to this report.

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  • Kamala, beloved Asian elephant at National Zoo, euthanized after failing health – WTOP News

    Kamala, beloved Asian elephant at National Zoo, euthanized after failing health – WTOP News

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    Kamala, a longtime member of the Smithsonian’s National Zoo’s Asian elephant herd, was euthanized on Saturday following years of struggling with osteoarthritis.

    Asian elephant Kamala often raised her trunk to greet keepers in anticipation of receiving food. (Courtesy Robbie Clark, Smithsonian’s National Zoo and Conservation Biology Institute)
    (Courtesy Robbie Clark, Smithsonian’s National Zoo and Conservation Biology Institute)

    Courtesy Robbie Clark, Smithsonian’s National Zoo and Conservation Biology Institute

    Asian elephant Kamala with trainer
    Asian elephant Kamala participates in a training session with animal keeper Amanda Bobyack at the Elephant Trails outdoor habitat. (Courtesy Amanda Bobyack, Smithsonian’s National Zoo and Conservation Biology Institute)
    (Courtesy Amanda Bobyack, Smithsonian’s National Zoo and Conservation Biology Institute)

    Courtesy Amanda Bobyack, Smithsonian’s National Zoo and Conservation Biology Institute

    Asian elephant Kamala raising her trunk
    Asian elephant Kamala with trainer

    Kamala, a longtime member of the Smithsonian’s National Zoo’s Asian elephant herd, was euthanized Saturday in D.C. following years of struggling with osteoarthritis.

    Even while measures were taken over the last several years to preserve Kamala’s health and quality of life, her physical condition had irreversibly declined, the Smithsonian said in a news release.

    “Given Kamala’s declining quality of life and poor long-term prognosis, animal care staff made the decision to humanely euthanize her,” the zoo said in a statement.

    Kamala, who was born in the wild, was estimated to be about 50 years old.

    After she was put to sleep, the zoo said other members of the elephant herd, Maharani, Swarna, Spike, Bozie, Trong NHI and NHI Linh, were given an opportunity “to spend some time with their deceased herd mate.”

    According to the zoo, Kamala was born in Sri Lanka around 1975 and first lived at an elephant orphanage in Pinnawalla, before being moved with her longtime herd mate, Swarna, to the Calgary Zoo in Alberta, Canada. Kamala gave birth to two offspring while in Canada.

    Kamala, her daughter Maharani, and Swarna were all transferred to the National Zoo in D.C. in 2014. It was around then animal care staff at the zoo began noticing and treating the symptoms that would eventually develop into severe osteoarthritis.

    Her longtime elephant companions, Maharani and Swarna, were the last to visit with Kamala after her passing Saturday afternoon.

    “Swarna and Maharani were the last to visit. Maharani spent quite a long time investigating the body, blowing into her mouth and trunk and nudging Kamala’s head,” according to the zoo.

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    Joshua Barlow

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