The Hood Museum of Art in Hanover, New Hampshire, has mounted a dozen exhibitions drawn entirely from its own collection to mark the 250th anniversary of American independence. Curators began planning in 2022, opting for a series of smaller, collaborative shows rather than a single large exhibition. Highlights include "Always Already: Abstraction in the United States," featuring works by Frank Stella and Nampeyo; "American Pop," with Ed Ruscha's "Standard Station, Amarillo, Texas" and Jaune Quick-to-See Smith's "The Rancher"; and "Art Histories/Art Futures," which pairs May Stevens' "Big Daddy Paper Doll" with Michael Naranjo's "He's my brother." The exhibitions reflect the museum's ongoing effort to include art and artists historically left out of the art-historical canon.
This initiative matters because it demonstrates how museums can use their permanent collections to engage with complex national narratives during a politically and socially charged moment. By foregrounding Indigenous artists like Nampeyo and Jaune Quick-to-See Smith alongside canonical figures, the Hood models a more inclusive approach to American art history. The collaborative curatorial process and the decision to present multiple small shows rather than a single blockbuster also offer a replicable strategy for other institutions planning anniversary or commemorative exhibitions.