In a piece titled "Gay Bashing at the Smithsonian," Frank Rich writes about the institution's censorship of David Wojnarowicz' piece "A Fire in My Belly," which was quickly (and baffingly) yanked from an exhibit at the National Portrait Gallery a few weeks ago:
Like many of its antecedents, the war over Wojnarowicz is a completely manufactured piece of theater. What triggered the abrupt uproar was an incendiary Nov. 29 post on a conservative Web site. The post was immediately and opportunistically seized upon by William Donohue, of the so-called Catholic League, a right-wing publicity mill with no official or financial connection to the Catholic Church.
Donohue is best known for defending Mel Gibson’s anti-Semitism by declaring that “Hollywood is controlled by Jews who hate Christianity in general and Catholicism in particular.” A perennial critic of all news media except Fox, he has also accused The Times of anti-Catholicism because it investigated the church pedophilia scandal. Donohue maintains the church doesn’t have a “pedophilia crisis” but a “homosexual crisis.” Such is the bully that the Smithsonian surrendered to without a fight.
Donohue’s tactic was to label the 11-second ants-and-crucifix sequence as “anti-Christian” hate speech. “The irony,” wrote the Washington Post art critic, Blake Gopnik, is that the video is merely a tepid variation on the centuries-old tradition of artists using images of Christ, many of them “hideously grisly,” to speak of mankind’s suffering. Those images are staples of all museums — even in Washington, where gory 17th-century sculptures of Christ were featured in a recent show of Spanish sacred art at the National Gallery.
But of course Donohue was just using his “religious” objections as a perfunctory cover for the homophobia actually driving his complaint. The truth popped out of the closet as Donohue expanded his indictment to “pornographic images of gay men.” His Republican Congressional allies got into the act. Eric Cantor called for the entire exhibit to be shut down and threatened to maim the Smithsonian’s taxpayer funding come January. (The exhibit was entirely funded by private donors, but such facts don’t matter in culture wars.) Jack Kingston, of the House Appropriations Committee, rattled off his own list of exaggerated gay outrages in “Hide/Seek,” from “Ellen DeGeneres grabbing her breasts” to “naked brothers kissing.”
It took only hours after Donohue’s initial battle cry for the video to be yanked. “The decision wasn’t caving in,” the museum’s director, Martin E. Sullivan, told reporters. Of course it was. The Smithsonian, in its own official statement, rationalized its censorship by saying that Wojnarowicz’s video “generated a strong response from the public.” That’s nonsense. There wasn’t a strong response from the public — there was no response. As the museum’s own publicist told the press, the National Portrait Gallery hadn’t received a single complaint about “A Fire in the Belly” from the exhibit’s opening day, Oct. 30, until a full month later, when a “public” that hadn’t seen the exhibit was mobilized by Donohue to blast the museum by phone and e-mail.
In response to th Smithsonian's outrageous censhorship, several museums and galleries across the United States have decided to showcase Wojnarowicz' video, including as the New Museum in NYC and CB1 Gallery in Los Angeles.