In the very first paragraph of Project 2025, the Heritage Foundation’s operating manual for a second Trump Administration, battle lines over history are drawn: “America is now divided between two opposing forces: woke revolutionaries and those who believe in the ideals of the American revolution.” Three weeks after Donald Trump’s election, Mike Gonzalez, a contributor to Project 2025, and Armen Tooloee, the former chief of staff to the right-wing activist Christopher Rufo, elaborated on the new Administration’s martial maneuvers, writing in the Wall Street Journal that, in order “to put a spike through the heart of woke,” the White House was duty bound to “retake control of museums, starting with the Smithsonian Institution.”
During the campaign, Trump professed ignorance of Project 2025. “I’ve never read it, and I never will,” he said. This was hard to parse. While it really was difficult to imagine Trump hunched over his desk, underlining passages in the report’s nine hundred-plus pages, he obviously had what is known in Washington as a “situational awareness” of its prescriptions to maximize executive power, slash government agencies, punish perceived enemies, intimidate dissenters, and rule as an autocrat. Trump is enacting Project 2025 nearly to the letter, deploying executive orders, lawsuits, and rhetorical bombast in an effort to force judges, law firms, cultural institutions, university presidents, and press barons into postures of pitiable obedience. He has even taken time to bring to heel that center of Brechtian cultural rebellion, the John F. Kennedy Center for the Performing Arts.
As is true of autocracies everywhere, this Administration demands a mystical view of an imagined past. In late March, Trump issued an executive order called “Restoring Truth and Sanity to American History.” Its diagnosis is that there has long been among professors and curators “a concerted and widespread effort to rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth.” It continues:
The Smithsonian, the vast complex of museums that millions of Americans visit every year to see Lincoln’s top hat, the Spirit of St. Louis, Harriet Tubman’s shawl, a moon rock, and Dorothy’s ruby slippers, is at the center of the executive order’s indignation. The order takes particular issue with a sculpture exhibit at the Smithsonian American Art Museum called “The Shape of Power,” saying that it pushes “the view that race is not a biological reality but a social construct.
”Perhaps it is rude or “revisionist” to question the scholarship of an executive order, but the curators got it right. As a wall text at the exhibit points out, human beings are “99.9 percent genetically the same.” The opposing view, racial essentialism, is hardly benign; it is the underpinning of virulent bigotry, from the description of Jews as vermin in Der Stürmer to the assertions in white-nationalist manifestos that Black people are cursed with inferior I.Q.s.
