New Milwaukee Art Museum director Kim Sajet has embarked on an exhilarating quest. Her goals are to change the story of the museum and ensure that the diverse visitors of the museum see themselves represented and reflected in their exhibitions. Sajet, a Dutch-born and Australian-raised art historian in her early 60s, started the job only a few weeks ago. She faces the challenge of navigating the complex and often contentious political landscape surrounding cultural institutions in the United States.
As she settles into her new position, Sajet is working beneath the gaze of significant artworks from the museum’s collection. One powerful example is a 1952 portrait of Mary Mills, an African American nurse in military uniform. There is also a bronze head of the greatest jazz and blues singer of her time, Ethel Waters. These artworks encourage us to remember the many different stories that art has the ability to tell. They portray the rich diversity and complexity of American identities.
Sajet’s curatorial approach has been marked by a focus on inclusivity and representation. Her mission centers on ensuring that Americans from all walks of life can see portraits of people like themselves within the museum. This emphasis helps to bolster a national trend across cultural institutions. At the same time it puts her in opposition to a lot of political headwinds.
In fact, in recent weeks, these hostilities have reached new heights in the battle between cultural institutions and the Trump administration. We appreciate the White House’s concern with the troubling direction of many museums, including those under the Smithsonian network. According to news reports, conversations at the Smithsonian’s D.C. headquarters—often called “the castle”—have sparked fears over particular exhibitions. It was in the midst of these storm clouds that Sajet found herself. She took the very unusual step of pulling an entire exhibition after listening to disturbing statements about one painting.
“We wish to be assured” – White House letter
“that none of the leadership of the Smithsonian museums is confused about the fact that the United States has been among the greatest forces for good in the history of the world.” – White House letter
Sajet’s conviction to keep a true and steady path even in the wake of controversy shines through. During an internal meeting, she recalled a collective sentiment: “We very quickly said: ‘The president of the United States does not have the jurisdiction to fire a director at the Smithsonian.’” This announcement reiterates the dedication of many museum professionals to continue their mission in the face of outside pressures.
Her past experience at the Smithsonian Institution prepared Sajet well to take on her leadership role in Milwaukee. Having previously been director of the National Portrait Gallery, she was used to steering ships through these waters. Her new perch at the Milwaukee Art Museum is decidedly more modest. It couldn’t be a greater contrast to her previous seat of power in Washington, D.C. Nevertheless, Sajet remains focused on her work.
“Honestly, it was another day in the office,” – Kim Sajet
Though Sajet has sought to proceed with caution, she hasn’t been averse to recognizing the tricky realities of cultural representation. Yet the Trump administration made infamous the idea of cutting these institutions, including the Smithsonian. This has raised alarm over potential penalties for non-federal institutions as well. Insiders have compared the atmosphere to a “crime board.” Employees walk on eggshells, worried that someone is watching around every corner.
“People are acquiescing in advance as a way to stay under the radar.” – Steven Nelson
At the same time, conversations about diversity, equity, and inclusion (DEI) have become an urgent cultural imperative. As one attendee put it, every observer is surprised to see issues once thought marginal occupying the center stage of museum discussions.
“Very quickly, things that would not have been considered DEI began being considered DEI, which was almost anything not white.” – Steven Nelson
Upon closer examination, this change signals an important cultural reckoning. It’s inspiring to see institutions actively confronting their historical narratives and examining how those legacies continue to impact society today. Staffers who have worked on the proposed exhibitions have pointed out that it is crucial to have frank conversations about America’s history.
“America hardly ever apologises for anything, and it almost never gives reparations,” – A person involved in a proposed label for an exhibition.
One proposal was to use art to heal historical wounds, reflecting on the times American society has humbly owned up to its misdeeds.
“Except for this event, this example in our history where we said sorry, and that apology came with money,” – A person involved in a proposed label for an exhibition.
Political leaders are reacting against this campaign. These are the misguided arguments of people who don’t want museums addressing America’s continuing inequities, or its past slave-holding presidents. Donald Trump himself has railed against institutions for propagating such a dim view of American history.
“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.” – Donald Trump
As Sajet navigates these turbulent waters, she remains committed to her vision for the Milwaukee Art Museum. She feels it is important for institutions to represent diverse narratives while helping to build bridges of understanding between communities.
In her experience, art is the most transformative tool for dialogue and healing. The tension will be in doing this in tandem with the outside pressure she will find from political actors who don’t necessarily have her ambitious vision in mind.
Sajet’s determination is a testament to her commitment to creating a more welcoming space in our cultural institutions. Integral to her artistic practice, she engages with diverse representations in art. By countering popular narratives, she opens doors where everyone is not only welcomed, but deeply appreciated.