Introduction

The act of curation is an act of power. Curation is a tool that shapes how art is seen and perceived by the public. Our workshop, Exhibit & Erase: Censorship, Representation, and the Curated Image, explores how curation impacts what is visible in mainstream art spaces, and when art by or of marginalized groups is repeatedly censored, the diversity of identities and perspectives represented in these spaces becomes limited. Over the past semester, students have explored case studies in a variety of mediums of art works that have been censored or underrepresented in one way or another. For their final project, students have created a mini-exhibition centering around an identity, story, or perspective, which they may belong to or feel strongly about, that is missing, erased, or underrepresented in mainstream cultural spaces.

History & Distinction

Our workshop was inspired by recent controversies surrounding the removal of exhibits in Washington, D.C. museums during the Trump administration. Institutions are often pressured by governmental, social, or political forces to remove artworks or to self-censor. Katz (2021) exposes the practice of “covert censorship”, which operates through omission, contextual framing, and quiet removal of controversial works. Annet (2025) highlights how marginalization of certain voices is not only a representational issue but a systemic silence. Chiang and Posner (2006) discuss how curatorial decisions mirror broader societal negotiations over expression while Jamil and Retis (2023) link cultural invisibility to institutional decisions about whose stories are told. These concepts are explored through the various case studies reviewed in our workshop and these conversations remained salient in our students’ minds as they curated their own works and ultimately final exhibition.

Methods

Research for this workshop included literature review, archival research, and media analysis focused on historical and contemporary censorship. These findings were integrated into weekly lesson plans, structured around specific mediums and case studies. Each workshop lesson consisted of a multitude of interactive strategies such as group discussions, group work, interactive polls, gallery walks, mind maps, and peer review to get students up and thoughtfully engaged with the case study, the topic, and our workshop themes.

Audience & Impact

The intended audience was students interested in the arts who may become future leaders or consumers in the field. It was critical to us that they build a nuanced understanding of the interactions between curation, censorship, and representation. Engaging with art critically but also empathetically allows for more meaningful interpretation and the potential to effect change. Students honed their creativity and attention to detail by considering design elements like layout and storytelling. Completing this capstone project strengthened our skills in leadership, communication, curation, and creativity. We became more confident in time management, mentorship, and adaptability. We are proud of what we have been able to accomplish and will continue to think deeply and critically about art, censorship, and representation.

References

Chiang, Tun-Jen, and Richard A. Posner. “Chapter 10 Censorship versus Freedom of Expression in the Arts.” Handbook of the Economics of Art and Culture, Elsevier BV, Jan. 2006, pp. 309–35, https://doi.org/10.1016/s1574-0676(06)01010-6.

Jamil, Sadia, and Jessica Retis. “Media Discourses and Representation of Marginalized Communities in Multicultural Societies.” Journalism Practice, vol. 17, no. 1, Nov. 2022, pp. 1–4, https://doi.org/10.1080/17512786.2022.2142839.

Kakembo, Aisha, et al. “The Representation of Marginalized Communities in Literature.” Research Output Journal of Education, vol. 5, no. 2, Jan. 2025, pp. 12–15, https://doi.org/10.59298/ROJE/2025/521215.

Katz, Jonathan D. “Only the Stupid Are Overt: Covert Censorship in the American Museum.” Bloomsbury Visual Arts EBooks, Aug. 2021, https://doi.org/10.5040/9781501358685.ch-007.

Acknowledgements

We would like to thank the Arts Scholars faculty - Harold, Heather, and Irene for their continued support, feedback, and guidance which was vital to the success of this project. We would also like to thank our TA Jessica who supported our workshop with insightful feedback and assistance each week in facilitating the smooth operation of the workshop. Last but not least, we would love to thank all of our students who took part in this wonderful experience and continuously inspired us with their creativity (in alphabetical order) – Alex, Daniel, Emma, Fish, Laurynn, Marshall, Shannen, & Tran – this workshop would not have been possible without their presence and for that we are extremely grateful.

About Us

Mia Koppel is a sophomore from Rockville, MD studying Psychology and Criminology and Criminal Justice at the University of Maryland. Her interests include poetry, graphic design, and music. After graduating with a bachelor's degree in Psychology and Criminology & Criminal Justice, she plans to work as a Forensic Psychologist, blending her interests in both psychology and law.

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Daisy Lobos is a sophomore from Bowie, MD majoring in Psychology and minoring in U.S. Latino Studies at the University of Maryland in College Park. Her interests include drawing, painting, writing poetry, journaling, and listening to music. After graduating with her bachelor’s degree, she hopes to go to graduate school to pursue her master’s degree. Her end goal, as far as careers, is to become a Licensed Professional Counselor, a mental health professional who provides counseling to individuals, families, and groups to help them achieve mental health wellness.

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