NEW YORK (AP) — The Smithsonian Institution has removed from an exhibit a reference to President Donald Trump's two impeachments, a decision that comes as the White House exerts pressure to offer a more positive — and selective — view of American history. A spokesperson said the exhibit eventually “will include all impeachments.”
A label referring to impeachment had been added in 2021 to the National Museum for American History's exhibit on the American presidency, in a section called “Limits of Presidential Power.” Smithsonian spokesperson Phillip Zimmerman said Friday that the section, which includes materials on the impeachment of President Bill Clinton and the Watergate scandal that helped lead to President Richard Nixon's resignation, needed to be overhauled. He said the decision came after the museum was “reviewing our legacy content recently.”
“Because the other topics in this section had not been updated since 2008, the decision was made to restore the Impeachment case back to its 2008 appearance," Zimmerman said in an email.
He said that in September 2021, the museum installed a temporary label on content concerning Trump's impeachments. "It was intended to be a short-term measure to address current events at the time,” he said. But the label remained in place.
“A large permanent gallery like The American Presidency that opened in 2000 requires a significant amount of time and funding to update and renew,” he said. "A future and updated exhibit will include all impeachments.”
White House spokesperson Davis Ingle said the Smithsonian has “highlighted divisive DEI exhibits which are out of touch with mainstream America” for too long.
“We are fully supportive of updating displays to highlight American greatness,” he said in a statement that did not address the missing reference to Trump's impeachments.
Trump is only the president to have been impeached twice — in 2019, for pushing Ukraine President Volodymyr Zelenskyy to investigate Joe Biden, who would defeat Trump in the 2020 election; and in 2021 for "incitement of insurrection," a reference to the Jan. 6 siege of the U.S. Capitol by Trump supporters attempting to halt Congressional certification of Biden's victory.
The Democratic majority in the House voted each time for impeachment. The Republican-led Senate each time acquitted Trump. Soon after Trump's first impeachment, the history museum issued a statement saying that curators “will determine which objects best represent these historic events for inclusion in the national collection.”
Since returning to office in January, Trump has cut funding, forced out officials and otherwise demanded changes across a range of Washington cultural institutions, including the Smithsonian, the Library of Congress, the Kennedy Center and the National Endowment for the Humanities.
In March, Trump issued an executive order entitled “Restoring Truth and Sanity to American History," in which he alleged that the Smithsonian was beholden to “a divisive, race-centered ideology." He has placed Vice President J.D. Vance in charge of an effort to ensure no funding goes to “exhibits or programs that degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with Federal law and policy.”
Congressional Democrats issued a statement in April calling Trump's order a “flagrant attempt to erase Black history.”
Last week, artist Amy Sherald canceled a planned exhibit at the National Portrait Gallery after officials raised concerns over her painting “Trans Forming Liberty, 2024,” in which she depicts a nonbinary transgender person posing as the Statue of Liberty. Sherald is best known for her painting of then-first lady Michelle Obama, which was commissioned by the Portrait Gallery.
Founded in the 19th century, the Smithsonian oversees a network of cultural centers that includes the portrait gallery, the history museum, the National Zoo and the Smithsonian Gardens. News of the Trump impeachment label being removed was first reported by The Washington Post.
FILE - People visit the Smithsonian Museum of American History on the National Mall in Washington, April 3, 2019. (AP Photo/Pablo Martinez Monsivais, File)
It was at a relatively minor event in upstate New York in September 2022 that Ilia Malinin, the self-anointed “Quad God" who was fast becoming the biggest name in figure skating, finally landed the jump that so many people had thought impossible.
Others had tried quad axels in competition over the years. All of them had fallen. That extra 180 degrees of rotation — necessary for the only jump in skating that starts with a forward-facing entry — proved to be a half-revolution too much.
So when Malinin landed it inside the arena made famous by the U.S. hockey team's upset of the Soviets at the 1980 Winter Olympics in Lake Placid, it not only sent shockwaves through the tight-knit skating community but made headlines around the world.
“My mind was just blown,” said two-time Olympic skater Jason Brown.
Yet by conquering the gravity-defying jump, Malinin also raised an important question: What comes next?
The six main jumps in figure skating have been standard since the early 1900s. The only difference between then and now is the number of revolutions. Dick Button landed the first double axel in 1948, and the first triple jump four years later. Kurt Browning landed the first quad, a toe loop, in 1988, and it was 10 years before Timothy Goebel landed the first quad salchow.
By landing the quad axel, Malinin may have maxed out the boundaries of human performance. Most sports scientists agree that the speed and amplitude necessary for five-revolution jumps truly is impossible, leaving figure skating at a crossroads, where a dearth of innovation threatens to take the shine off a sport already fighting to maintain popularity.
“I think it's kind of natural that we were going to get to this point,” said Malinin, the overwhelming favorite to win gold for the U.S. at the Milan Cortina Olympics. "But I haven't reached my top, whether it's in the technical and how much I can jump and spin, but also in the creativity.”
Malinin, 20, points to his signature “raspberry twist,” a somersaulting spin unlike anything that anybody else does. He created it himself, and it tends to bring down the house whenever he throws it down near the end of his programs.
Yet the flashy maneuver also underscores one of the inherent problems with trying to be creative: It doesn't get rewarded.
The International Skating Union has rigid requirements for both short programs and free skates, and it rarely pays off to deviate too far from the script. Malinin might not get a lot of extra points for landing his raspberry twist, for example, since it is not one of the six standard figure skating jumps, but a failure to land it could cost him dearly.
“Absolutely, there are a lot of things I've wanted to try,” Malinin told The Associated Press, “because I think it would be really cool and appealing. But it's a bigger risk for the program itself, and the system and scoring means it doesn't make sense.”
In other words, what's the point in trying to innovate?
“There are so many rules in your programs that you don't have too much wiggle room,” said Alysa Liu, the reigning world champion. “A lot of these rules really restrict us. Like, all of our spins look the same now, but they could look so different."
“One of my training mates, Sonja Himler, does these incredible programs," added Amber Glenn, a three-time U.S. champion, and along with Liu one of the favorites to win Olympic gold for the American team in February.
“Like, she spins the other way, jumps the other way — really cool things that, you know, someone who's watched a little bit of skating will be like, ‘Oh, I’ve never seen that before,'” Glenn said. “Whereas if I go and do, you know, the norm, and do it well, versus what she does, my scores will be better, even though what she does is way more impressive, in my opinion.”
Justin Dillon, the manager of high performance at U.S. Figure Skating, acknowledged having had hard conversations with some skaters about their programs. They may have planned something unique or interesting, but the risk wouldn't be worth the reward.
“I encourage individuality, and bringing it to the ice,” Dillon said, “but if they do something so avant-garde that it doesn't check those boxes, then it really doesn't serve them. It doesn't always mean throw it out, but what can we do to make it a home run?”
To its credit, figure skating's governing body has loosened some restrictions in recent years. The backflip, which was long banned in competition because of its inherent danger, is allowed now, though it also doesn't carry a whole lot of scoring weight.
Is that hold-your-breath element of risk and uncertainty the next big step in skating?
“I mean, you're cringing. It legit scares me," Glenn said of the backflip. “If you can do it, great. I think it's so fun. I want to learn it once I'm done competing. But the thought of practicing it in like, a warmup or in training, it just scares me.”
Brown has never been able to consistently land quad jumps in competition. Instead, he relies on near-perfect execution of triple jumps, along with arguably the best artistry in figure skating, to consistently challenge for podium placements in major competitions.
Maybe, Brown mused, the next innovation in figure skating has nothing to do with extreme feats of athletic ability.
“I have so much respect for the ways in which people are pushing the sport technically,” he said, "but I think the more that people fixate on executing an element, the less risk people take artistically, because they’re already taking these risks technically. And it is very hard to do both. So maybe the next step for figure skating is to reward the story we're trying to tell."
AP Winter Olympics: https://apnews.com/hub/milan-cortina-2026-winter-olympics
Amber Glenn skates during the "Making Team USA" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Jeff Roberson)
Amber Glenn skates during the "Making Team USA" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)
Ilia Malinin skates during the "Making Team USA" performance at the U.S. Figure Skating Championships, Sunday, Jan. 11, 2026, in St. Louis. (AP Photo/Jeff Roberson)
Ilia Malinin competes during the men's free skate competition at the U.S. Figure Skating Championships, Saturday, Jan. 10, 2026, in St. Louis. (AP Photo/Jeff Roberson)
Ilia Malinin competes during the men's short program at the U.S. Figure Skating Championships, Thursday, Jan. 8, 2026, in St. Louis. (AP Photo/Stephanie Scarbrough)
