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All eyes are on the Smithsonian following the announcement that the National Gallery of Art in Washington D.C. would cancel its diversity, equity and inclusion programs in accordance with an executive order, signed by President Trump’s within hours of taking office, that eliminates all federally funded DEI initiatives. 

According to a memo of the United States Office of Personnel Management that was obtained by CBS and confirmed by White House press secretary Karoline Leavitt, federal employees in any DEI office were to be put on paid leave “no later than 5:00pm EST on Wednesday” while steps are taken “to close/end all DEIA initiatives, offices and programs.”

But the Smithsonian, which oversees 21 museums, including ones dedicated to American art, portraiture, and African American history and culture, has a unique structure. That means the decision to adhere to Trump’s freshly penned executive order isn’t so clear. 

According to the Congressional Research Service, the Smithsonian Institution is unlike other governmental bodies—it is “organizationally separate and distinct from the legislative, executive, or judicial branches of the national government.” Created by Congress in 1846, the Smithsonian Institution’s roots are in a bequest from James Smithson, an English scientist who died in 1829 and left his estate to the federal government. As a result the Smithsonian is a “trust instrumentality of the United States,” overseen by a Board of Regents with representation from all three branches of government. 

More importantly, only 53 percent of the Smithsonian’s funding comes from federal appropriations, according to the Institution’s 2023 annual report. The rest of the organization’s revenue comes from contributions and grants, business interests, and endowment payout. 

Los Angeles’s Broad museum is facing two lawsuits, filed within less than a week of each other, that accuse the institution of discrimination and defamation, as well as failing to prevent retaliation against two workers.

The first suit was filed by the museum’s former HR director, Darron Rezell Walker, who claims in a legal filing that he was released from his role after failing to find cause to fire a facilities manager. Walker claims he was pressured by the museum’s former COO, Alysa Gerlach, to fire Rick Mitchell, 65, based on personal animosity, his age, and his race. Walker alleges that he was dismissed by Gerlach after failing to find cause for Mitchell’s termination following an investigation into his department.

The investigation was initiated after Mitchell asked for safety standards to be reviewed for his department, which included 37 people at the time of the internal dispute.

The second lawsuit, filed by Mitchell, accuses Gerlach of orchestrating his termination due to age and racial bias. Mitchell alleges that there was an internal investigation that was conducted by Walker and requested by Gerlach, and that no wrongdoing was discovered.

Mitchell goes on to allege that Gerlach violated the law by fabricating a reason for his firing. The suit claims that Gerlach committed defamation, allegedly by making false claims about Mitchell’s job performance, and that the museum failed to prevent retaliation against him.

The National Portrait Gallery in London is facing scrutiny for putting on an exhibition centered on the photographic work of a donor whose family contributed £40 million (approx. $50 million) to a recent large-scale renovation that ended in 2023.

The exhibition is centered on the photography of Zoë Law, who had donated to the institution through a family foundation in the past. The show, titled “Legends,” features close to a hundred black-and-white portraits of prominent figures in art, fashion, and pop culture, including an image of British musicians Noel Gallagher and Princess Julia, both of which the museum acquired to its permanent collection. Other subjects include British writer Lemn Sissay and designer Ozwald Boateng.

The work, which is presented in the museum’s Studio Gallery and Spotlight Space, will close on March 2.

The photographer cofounded the Law Family Charitable Foundation with her former partner, British hedge fund manager Andrew Law. The organization was listed as a major donor to the museum’s renovation, according to a report published by The Guardian earlier this week.

Law stepped down from the foundation’s board in June 2024 following the couple’s separation.