How to Piss Off Trump

A mysterious public artwork on the National Mall, the Philadelphia Art Museum's ongoing rebrand debacle, new Louvre heist footage, and Yoko Ono's relentless positivity.

Good morning. The latest in a series of mysterious monuments periodically erected on the National Mall has an unusual element: public participation. The installation is a 10-foot replica of Trump's alleged birthday message to Jeffrey Epstein, infamously featuring the outline of a woman's body, alongside a selection of multicolored permanent markers and an invitation for the public to write a little message to the Trump administration. A group of curious bystanders surrounded the artwork when reporter Emma Cieslik visited yesterday, many of them engrossed in giving the president a piece of their mind.

Whether you love it or hate it or think it's a gimmick, one thing is certain: Artists won't let the people forget about the Epstein files. Plus, it probably pissed Trump off. Both are achievements worth applauding.

— Valentina Di Liscia, senior editor


A replica of Trump's alleged birthday message to Jeffrey Epstein appeared on the National Mall on January 18, 2026. (photo Emma Cieslik/Hyperallergic)

New Artwork on National Mall Lampoons Trump-Epstein Birthday Card

In Washington, DC, steps away from the US Capitol, a new public artwork in the form of an interactive birthday card from Trump to Epstein emerged this weekend. The impromptu monument is a form of protest art that “provides a release and a voice in dark times,” the anonymous group behind the work told Emma Cieslik.


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For Which It Stands…

Commemorating the 250th anniversary of the United States, this major loan exhibition at the Fairfield University Art Museum explores more than a century of artists taking on the American flag.

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News

Philadelphia Art Museum Might Rebrand Its Botched Rebrand
Philadelphia Art Museum's campus upon debuting its institutional rebrand last October (photo by Rob Cusick, courtesy the museum)
  • The Philadelphia Art Museum rebrand debacle continues as the museum appoints a new task force to evaluate the controversial redesign and its chief marketing officer steps down.
  • New camera footage of the infamous jewelry heist at the Louvre in Paris last year leaves us with more questions than answers; namely: WTF?

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Opinion

Installation view of Christine Sun Kim and Thomas Mader's "ATTENTION" (2022) at the Whitney Museum of American Art in 2025 (photo Lisa Yin Zhang/Hyperallergic)

Accessibility Should Be at the Center of Museum Education

Though some museums offer specialized programs for individuals with disabilities and their caretakers, there is much work to be done to embed disability studies in arts education, writes Bryan Martin. “Disability is not a quota for display: It’s insufficient just to bring an artist with a disability into the gallery or merely highlight it as a fact on a wall label,” he writes.


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A list of arts-related graduate programs to explore and apply to before deadlines close.

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From Our Critics

Yoko Ono, Minoru Niizuma, "Cut Piece" (1964, photographed March 21, 1965; printed 2024), photograph, gelatin silver print on paper (image courtesy the artist)

Yoko Ono’s Art Is an Exercise in Hope

By inviting viewers to participate in her work, she has consistently framed collective hope amid a cultural backdrop of suffering and pain. | Debra Brehmer


Our Sundance Picks

Still from The Oligarch and the Art Dealer, dir. Andreas Dalsgaard (image courtesy the Sundance Film Festival)

Art Films to See at Sundance This Year

A documentary short exploring the relationship between dealer Yves Bouvier and Russian oligarch Dmitry Rybolovlev is among the art-focused films critic Dan Schindel is looking forward to seeing at the annual film festival, which kicks off this week.


Member Comment

Holly Wong on Damien Davis's “Why Are We Paying for the Privilege of Rejection?”:

I so appreciate all of Damien's articles and this one in particular. It speaks powerfully to what is lost in terms of the voices of less privileged artists not being able to participate in these opportunities. While I too get the need to charge fees because our arts institutions are completely underfunded, I think scholarship systems are critical so that we don't marginalize what is an essential part of American cultural dimension and expression. I also love the practical strategies at the end of the article about when it makes sense to pay the application fee and what situations are just another predatory application fee sort of situation. As an artist myself, I am slowly learning to distinguish between what is just pay to play "promotion" gimmick opportunities and what are real opportunities with good jurors/curator exposure.

From the Archive

Yoko Ono, Add Color (Refugee Boat) (1960-2009) at the River to River Festival in New York (photo Hakim Bishara/Hyperallergic)

Yoko Ono's Refugee Boat Sparks Renewed Conversation About Immigration

While lacking much critical edge, Ono's participatory contribution to the Lower Manhattan Cultural Council's River to River Festival pushes visitors to discuss the historic contributions of immigrants in the US | Hakim Bishara


ICYMI

Artist J. Oscar Molina (photo courtesy Oscar Molina Studio)

J. Oscar Molina Is El Salvador's First Venice Biennale Artist

The painter and sculptor hopes his exhibition, “Cartographies of the Displaced,” will cultivate “patience and compassion for newcomers.” | Isa Farfan