Retired Gerard Baker, the first Native American superintendent of Mount Rushmore National Memorial, started his new position on June 1, 2004. His subsequent appointment was a huge turning point for the monument. It has been celebrated for its monumental sculptures, but the story is clouded by a confusing history that is deeply rooted in its placement on sacred Lakota land. Baker spotlighted the yet untold stories of their Indigenous tribes, their thriving arts and cultural epicenters. During his six years at the helm, his successes were manifold toward bringing this vision to reality.
Doane Robinson, the first state historian of South Dakota, first imagined the Mount Rushmore National Memorial. This majestic landmark is home to the granite likenesses of four great U.S. presidents—George Washington, Thomas Jefferson, Theodore Roosevelt, and Abraham Lincoln. The sculptor Gutzon Borglum began crafting the models for the monument in his studio in Pennington County, South Dakota, around 1926. The site’s historical context certainly extends far past the stone carvings. It sits on land that has deep spiritual meaning to the Lakota, Nakota and Dakota nations.
Baker’s initiative was to restore the history of Native American tribes to the forefront at Mount Rushmore. This began a period of both transformative and turbulent change at the memorial. One of these projects is the establishment of the Lakota, Nakota, and Dakota Heritage Village. More than an art piece, this vibrant platform serves to actively educate visitors about Indigenous culture. Baker understood that representation matters and brought on local Native American interpreters in order to authentically tell their tribes’ stories.
To offer a more complete understanding of Native heritage, Baker installed teepees at the memorial. This interactive approach was intended to provide a deeply engaging experience to visitors and connect them with Native American culture and history. Traditional hoop dancers performed in the large auditorium at Rushmore, showcasing Indigenous artistry and engaging audiences in a dialogue about their heritage.
Baker’s endeavors did not come without challenges. His determination to broaden the memorial’s interpretive scope sparked raucous debates between all party players. This included concern from the Mount Rushmore Society, a local non-profit, over his growing emphasis on Native interpretive programs. However, Baker wouldn’t shrink from his conviction that visitors deserved a more complex portrayal of American history.
“We have to look at what do the visitors want to hear when they come to a park like Rushmore,” – Gerard Baker
Baker’s commitment to inclusivity didn’t stop with the memorial itself. He arranged for his rangers to take field trips to the local Indian reservations. Most importantly, they understood and experienced Native American culture as described by community members themselves. This effort was intended to deepen knowledge and appreciation of Indigenous narratives and worldviews within the National Park Service (NPS).
No matter how hard he worked, Baker was met with persistent vitriol and organized pushback. On July 3, 2020, then-President Donald Trump gave a controversial speech at Mount Rushmore. Scholars and activists alike criticized his testimony as offering a dangerously myopic view of American history. This gathering shone a light on the still simmering conflict over the story of Mount Rushmore and who should have a say.
Looking back on his tenure as superintendent, Baker told NPR that things are not so simple when it comes to Mount Rushmore’s legacy. He recognized that the act of talking about this history invokes passion.
“The Rushmore story is tough to tell,” – Gerard Baker
He continued, “That is a bad, tough story to tell without people getting emotional. And mad and crying and everything else. And it’s still that way.”
Gerard Baker’s tenure culminated in the publication of his book titled “A Biography of a Mountain: The Making and Meaning of Mount Rushmore,” which is set for release on November 11, 2025. The book similarly goes deep into the physical production of the monument. It looks at its larger significance in the context of American history.
Baker’s statement about his career journey reflects his humility and connection to public service:
“I like to tell people that my first job in the Park Service was cleaning toilets and I worked my way down to management,” – Gerard Baker
Now, as he leaves his role as superintendent, Baker leaves a permanent mark. From atop America’s most masterful void, he advocated for Native stories to be told. His work has started crucial conversations on representation and historical accuracy in our national parks.