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Hirshhorn Museum and Sculpture Garden
Work In Progress
Behind the Frame
Behind the Frame evaluates 40 of the nation's leading art museums across three areas: their policies, their representation of Jewish art and artists and their partnerships and community engagement. These criteria assess a museum’s record and its current approach to addressing antisemitism. Collections and exhibitions reflect long-lead decisions museums plan five to ten years in advance, while policies and inclusion practices signal how prepared an institution is for the future and the evolving nature of antisemitism. Each museum receives a rating — from Critical Condition to Gold Standard — based on how it measures up.
As the ADL Center on Extremism has documented, extremist activists have facilitated coordinated efforts since October 7, 2023 to push Jewish and Israeli voices out of mainstream cultural spaces, with the impact felt at the staff, curator and visitor levels. Most American museums hold significant collections of Jewish art, but owning the work is not enough. Policies, programming and inclusion commitments must protect and feature Jewish artists, staff and patrons amid rising antisemitism. These criteria assess both a museum’s record and its current approach to addressing antisemitism.

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Gold Standard
Good Showing
Work In Progress
Not Inclusive
Critically Deficient

Updated:
Work In Progress
Not Inclusive
Good Showing
Not Inclusive
The Hirshhorn Museum and Sculpture Garden is the Smithsonian’s museum of modern and contemporary art on the National Mall in Washington, D.C. Opened in 1974 around the collection of financier and philanthropist Joseph H. Hirshhorn, the museum is especially known for modern sculpture, postwar art, and large-scale contemporary installations.
Jewish representation includes artists and works engaging Jewish history, as well as The Evidence Room, a powerful 2019 installation reconstructing architectural evidence from Auschwitz. That exhibition brought Holocaust history directly into the museum’s contemporary program.
Israeli artists including Ori Gersht, Menashe Kadishman, and Omer Fast are represented in the collection, but the research found less recent exhibition attention. The Hirshhorn also publishes detailed object-level provenance chains on its own website, an unusually transparent practice for a contemporary museum and one recognized through the methodology’s bonus structure.
The museum provides general visitor contacts but no dedicated bias-reporting channel. Its Smithsonian regulations, however, offer strong rules governing demonstrations, pamphlet distribution, solicitation, and related political activity. No public museum policy was found that explicitly names antisemitism.
Programming around The Evidence Room is a major strength. The museum launched a sustained conversation series on memory, history, and representation connected to the installation. The Hirshhorn did not recognize heritage months on its individual museum channels in 2026, so heritage month recognition was not scored.
No sustained external Jewish institutional partnership was identified.
The Hirshhorn has demonstrated serious engagement with Holocaust memory and strong institutional rules around political activity. More direct Jewish partnerships, stronger Israeli exhibition visibility, and a dedicated public reporting mechanism would make those strengths more comprehensive and less dependent on individual projects or parent-institution structures.
State of the Arts becomes an accessible public home for research, profiles, storytelling, and advocacy that can continue to grow over time.
If you are an artist, writer, performer or member of the arts and culture community who has experienced or witnessed antisemitism, bias or discrimination, please Report an Incident to ADL. If you are seeking legal support, you can also submit a request to ADL’s Legal Action Network.