The Whitney Museum of American Art is under fire following its decision to cancel a performance scheduled as part of its prestigious Independent Study Program (ISP), with participants accusing the institution of censorship and institutional overreach. The canceled event was to be held on May 14 as part of the capstone exhibition A Grammar of Attention, curated by members of the ISP’s curatorial cohort.
Artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi were slated to present a work titled No Aesthetics Outside My Freedom: Mourning, Militancy, and Performance at the Westbeth Artists Housing building, located near the museum’s main facility in Manhattan. According to a statement by Tbakhi, the piece was intended as a reflection on the Palestinian liberation struggle, incorporating texts by Natalie Diaz, Christina Sharpe, and Brandon Shimoda, and offering space to mourn those lost in that struggle.
However, two days before the event, the museum informed curators that the performance would not proceed. In a public statement, the curators—Bea Ortega Botas, Kennedy Hollins Jones, Tamara Khasanova, and Ntshadi Mofokeng—condemned the decision, describing it as part of an intensifying pattern of institutional scrutiny.
“We are incensed by the Whitney Museum’s cancellation of the performance,” the curators said, urging audiences to redirect attention and material support toward Palestinians enduring “a campaign of genocide and extermination.” They added that curatorial projects across all ISP cohorts had been subjected to heightened oversight in recent weeks and maintained support for the artists’ works while condemning the museum’s actions.
In response, the Whitney issued a statement asserting that the decision was not based on the content of the performance itself, but on remarks made by one of the participating artists during a previous iteration. The museum referenced a performance at the Poetry Project on April 4, where Tbakhi opened by inviting anyone who supported Israel or the United States to leave, and went on to make statements that the museum interpreted as valorizing violence.
“The Whitney has a zero-tolerance policy for harassment or discriminatory behavior,” the museum stated. “This decision was not about the topics discussed, but because their presentation violated the standards agreed to by all members of our community.”
The museum emphasized that other artworks addressing the war in Gaza remain on view in ISP exhibitions and reaffirmed its support for provocative dialogue—so long as it aligns with institutional policies and behavioral standards.
ISP Associate Director Sara Nadal-Melsió strongly disputed the rationale for the cancellation, arguing that the contentious statements referenced by the museum were part of an earlier event and not intended for the canceled performance. Nadal-Melsió, who assumed her role in February 2024, accused the museum of punishing artists for previous speech and undermining the program’s long-standing autonomy.
The ISP, established in 1968, has played a critical role in shaping contemporary American art discourse, educating a generation of influential artists, critics, and curators. Renowned for its academic rigor and independence, the program operates tuition-free and without formal requirements. Over the decades, it has included figures such as Jenny Holzer, Glenn Ligon, and Roberta Smith among its alumni.
Tensions between the museum and the ISP appear to have escalated in recent months. In 2023, artist and activist Gregg Bordowitz was appointed director of the program. Earlier this year, under new museum leadership, he was reassigned to the role of director-at-large, a position set to end in June. The reasons for this change have not been disclosed.
Bordowitz criticized the museum’s recent actions, calling them “inconsistent, often contradictory and capricious.” He expressed concern for the program’s participants, stating they had been placed in “the most vulnerable positions,” and praised their “thoughtfulness and grace” in navigating the controversy.
Nadal-Melsió echoed concerns over institutional interference, emphasizing that the ISP was founded in the spirit of political resistance and intellectual freedom. She cited the program’s roots in the activism of the late 1960s, the anti-war movement, and AIDS advocacy, underscoring the importance of its continued independence.
In addition to the performance cancellation, participants have voiced frustration over the museum’s response to a recent hate crime. On May 7, transgender artist Ash Moniz, a member of the program, was assaulted on the New York City subway while wearing a Palestinian scarf. Participants criticized the museum for remaining silent on the incident.
Nadal-Melsió further alleged that the museum has sought to minimize the visibility of ISP events by canceling planned promotional efforts and delaying website updates. She claimed that Whitney Director Scott Rothkopf made the decision to cancel the performance without visiting the exhibition or engaging with the curators, despite repeated requests for dialogue.
The curators have declined to address the museum’s claims in public, stating: “Because the museum decided not to engage us on its concerns prior to making its decision, we as curators find it inappropriate to engage in a public conversation about it now.”
As the Whitney Museum faces mounting scrutiny over its handling of the situation, the future relationship between the institution and its celebrated Independent Study Program remains uncertain.
