Susan,
 
Your post raised some critical questions that I think all museums
face, and I believe part of the problem museums are facing in
confronting social issues is the political climate across the nation
today. Just look at how the Smithsonian was forced to back down on the
Enola Gay exhibit. Some people have said that maybe the Smithsonian
was the wrong institution to deal with the subject but if not them,
who? That is our "national museum" and it is an issue confronting our
nation. But we've already discussed that to death here and won't dwell
on it again.
 
Anytime a museum mounts an exhibition it takes a point of view just in
doing so. That view does not have to be extremely conservative or
extremely liberal, but it is rarely middle of the road. You can't just
present the facts, but provide interpretation, and raise both sides of
the issue. To me the most stimulating exhibits are those that
challenge you to _think_ about how the issue affects you, the
community, _think_ about the world in broader terms than the limits of
your own circle. It's only when people can really start to think about
and analyze why something was or is being done and the ramifications
of it can any change begin to happen. Again to use the Enola Gay as an
example, the kinds of questions that were raised regarding it were
entirely valid on all sides - everyone has the right to their own
opinion, however, allowing the exhibit to be presented as it was would
have allowed individuals to form those opinions on their own. Instead
they were forced on us by some who unfortunately are unwilling to look at
alternative viewpoints.
 
If you haven't already, I'd suggest looking at a couple of books that
I feel address these issues in significant ways. One is RETHINKING THE
MUSEUM AND OTHER MEDITATIONS by Stephen Weil. In it he says: "What
seems to be common ... is the constant of change: invention, movement
and erosion, the search for the edges of art, and the irresistable
unfolding of history. Is not this, though, just as it should be? Is
not change, after all, what truly justifies every museum enterprise?"
 
The other is DIFFERENT VOICES, published by the American Association
of Art Museum Directors, a series of essays dealing with ethnic and
cultural diversity in art museums that I feel can easily be applied to
museums across the board.
 
I'd be interested in reading the report from the Philadelphia
Initiative - can you let me know how I can obtain a copy? Thanks.
Reply here or e-mail me directly if you wish.
 
Sue Shore
Museum Studies
University of Nebraska-Lincoln
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