Artist Andil Gosine’s exhibition, which explored themes of environmental justice, sexuality, and sexual rights, was abruptly canceled by the Art Museum of the Americas (AMA), a branch of the Organization of American States (OAS), in Washington, DC. Gosine had spent three years meticulously planning Nature’s Wild with Andil Gosine, but earlier this month, the museum informed him that the exhibition would not go forward.
“For three years, I imagined every centimeter of the three galleries for this work,” Gosine told Hyperallergic in a phone interview. “The work was made for that space.”
The cancellation came just days after the museum also withdrew support for curator Cheryl D. Edwards’s planned exhibition, Before The Americas, which featured works by African-descended Caribbean and American artists. Edwards said her exhibition was terminated at the request of the Trump administration, which viewed it as part of a DEI (Diversity, Equity, and Inclusion) initiative. The U.S. government reportedly withdrew funding for Edwards’s exhibition, and when she offered to raise funds independently, the museum still declined to reinstate the show.
However, Gosine’s situation differs in a key way: his exhibition did not receive funding from the U.S. government. Instead, it was supported by grants he secured himself, contributions from WorldPride, and funding from the Canadian Permanent Mission to the OAS. Despite this, the museum still canceled his exhibition without providing an official reason. Gosine was only informed that the OAS General Secretariat had ordered its cancellation.
Gosine, who grew up in Trinidad and is now a professor of Environmental Arts and Justice at York University in Toronto, expressed frustration over the lack of transparency. He also noted that the museum had labeled his exhibition as a “queer show,” even though he had never used that characterization.
The AMA and the Permanent Mission of Canada to the OAS have not responded to requests for comment from Hyperallergic.
The cancellation raises concerns about growing censorship and ideological shifts in U.S. arts policy under Trump. Gosine speculated that the decision may be part of a broader effort to align cultural institutions with the administration’s foreign policy priorities, which emphasize “America First” messaging and reject content perceived as “anti-American propaganda.”
The Trump administration has been taking steps to reshape the arts sector, including appointing former Conair executive Leandro Rizzuto Jr. as the U.S. ambassador to the OAS and assuming control of key cultural institutions. Trump has positioned himself as the chairman of the Kennedy Center board and has promised a “golden age of arts and culture” that excludes drag performances and other works he deems inappropriate.
Financial records show that the U.S. remains the largest contributor to the OAS, providing $38.4 million in 2023 alone. This financial influence may have played a role in the museum’s decisions.
“This is an anticipatory move,” Gosine said, referring to a recent executive order from Trump directing Secretary of State Marco Rubio to align foreign policy compliance with the administration’s agenda. “I fear that means throwing queer people, queer artists, and marginalized communities under the bus.”
The sudden cancellation has drawn criticism from artists and cultural figures who see it as part of a broader effort to suppress marginalized voices. Canadian cultural critic Deborah Root, who collaborated on the exhibition, expressed her outrage:
“My primary emotion is anger — and disbelief,” Root told Hyperallergic via email. “I worry that this will have a chilling effect on artists and writers. Some may start tailoring their work to fit a more conservative and ultimately dull standard just to avoid being censored.”
Canadian artist Angie Quick, whose work was slated to be part of Nature’s Wild, condemned the decision as an act of violence against LGBTQIA+ and BIPOC communities.
“This is a deliberate and aggressive attempt to erase and suppress us,” Quick said in an email statement. “But we are moving forward with even greater resolve.”
Another participating artist, Kelly Sinnapah Mary, described the cancellation as a “terrible loss.”
Despite the setback, Gosine said the art community has been rallying around him, and he is working on alternative venues to showcase the exhibition. However, securing a museum space will be difficult given the typical three- to five-year planning timeline required for institutional exhibitions.
“I hope that more of the private art world steps up when public institutions cancel artists’ shows,” he said.
