Artists Rally to Preserve Iconic New Deal-Era Murals Amid Demolition Fears at Washington, D.C.'s Wilbur J. Cohen Federal Building
In a poignant call to action that echoes the enduring value of public art in American history, a coalition of prominent artists and cultural figures has launched an urgent campaign to save a collection of historic murals from potential destruction. These artworks, housed within the Wilbur J. Cohen Federal Building in Washington, D.C., represent a vital chapter of the New Deal era—a time when the U.S. government commissioned artists to create works that uplifted the public spirit during the Great Depression. Dubbed the "Sistine Chapel of New Deal Art," the building's interiors feature masterful murals and sculptural reliefs by renowned Jewish-American artists Ben Shahn, Philip Guston, and Seymour Fogel. As the Trump administration pushes forward with plans for the building's accelerated disposal and possible demolition, this latest effort underscores broader concerns about the preservation of cultural heritage in the face of political and economic pressures.
Historical Context: The New Deal and Public Art's Golden Age
The story begins in the 1930s, amid the economic turmoil of the Great Depression. Under President Franklin D. Roosevelt's New Deal programs, the federal government initiated ambitious public works projects, including the commissioning of art to decorate government buildings. This was part of initiatives like the Works Progress Administration (WPA) and the Treasury Relief Art Project (TRAP), which employed thousands of artists to produce murals, sculptures, and other works that celebrated American resilience, social welfare, and democratic ideals. For more on the history of New Deal art, explore resources from the Smithsonian American Art Museum or the comprehensive overview on Wikipedia's New Deal page.
The Wilbur J. Cohen Federal Building, originally constructed in 1939-1940 as the headquarters for the Social Security Board (later the Social Security Administration), exemplifies this era. Named after Wilbur J. Cohen, a key architect of Social Security and Medicare, the building's design and artworks were intended to symbolize the government's commitment to public welfare. Over 1,800 square feet of art adorn its walls, reflecting themes of reconstruction, security, and national prosperity. In 1954, the Voice of America—a U.S.-funded international broadcaster—moved in, but its operations were suspended under the Trump administration in October 2025, leaving the structure vulnerable.
Recent developments have escalated the threat. In November 2025, the U.S. General Services Administration (GSA) listed the Cohen Building among 44 federal properties for "accelerated disposal," a process that minimizes public input and expedites sales or demolitions. By December, reports emerged that the White House was soliciting bids for demolition, bypassing standard historic preservation reviews under Section 106 of the National Historic Preservation Act. This move has sparked outrage, as detailed in articles from The Architect's Newspaper and The Washington Post, highlighting the building's status on the National Register of Historic Places since 2007.
The exterior of the Wilbur J. Cohen Federal Building in Washington, D.C., a modernist structure now facing an uncertain future. (Image source: Flickr - Timevanson)
The Artists and Their Masterpieces: A Closer Look
At the heart of the preservation effort are the murals created by three influential artists, each contributing works that blend social realism with profound humanistic themes.
Ben Shahn, a Lithuanian-born American artist known for his social realist style and left-wing activism, painted the suite of murals titled The Meaning of Social Security. These works depict the evolution of social welfare, from poverty and hardship to protection and dignity, drawing on Shahn's own experiences as an immigrant and his commitment to labor rights. Shahn's art often critiqued societal injustices, as seen in his famous series on the Sacco and Vanzetti trial.
A detail from Ben Shahn's mural in the Wilbur J. Cohen Federal Building, capturing the essence of social security themes. (Image source: Picryl - Public Domain Media)
Philip Guston, another key figure, contributed Reconstruction and Well-Being of the Family. Born in Canada to Jewish immigrant parents, Guston evolved from abstract expressionism to figurative works later in his career, but his early murals reflect a muralist tradition influenced by Mexican artists like Diego Rivera. This piece emphasizes family stability and post-Depression recovery, aligning with the New Deal's focus on rebuilding American society. Guston's recent retrospective at the Jewish Museum in New York has renewed interest in his contributions.
Seymour Fogel, an American artist whose early works embodied social realism before shifting to abstraction, created Wealth of the Nation and The Security of the People. These murals explore economic abundance and communal safety, using bold forms and colors to convey optimism. Fogel's involvement in federal art projects highlights the era's emphasis on accessible, public-facing art.
Seymour Fogel's mural "The Security of the People," a striking example of New Deal artistry in the building. (Image source: Picryl - Library of Congress)
These artworks are not mere decorations; they are historical documents that narrate the birth of America's social safety net. Their potential loss would erase a tangible link to the New Deal's legacy, as argued in preservation advocacy from groups like the Society of Architectural Historians.
The Open Letter: A Collective Cry for Preservation
The catalyst for renewed attention is an open letter circulated in January 2026, addressed to Shari Aronson, chair of the Jewish Museum's board. Penned by artists Elise Engler, Joyce Kozloff, and Martha Rosler—each with distinguished careers in feminist and socially engaged art—the letter has garnered hundreds of signatures from the art world. Notable signatories include painter Joan Semmel, known for her explorations of the female body; Rochelle Feinstein, a conceptual artist; Joan Snyder, an abstract expressionist; art critic Lucy Lippard; and Native American artist Kay WalkingStick.
The letter lambasts the U.S. government's "woeful record of respecting, preserving, and restoring its public art, especially compared with older and less wealthy countries." It specifically urges the Jewish Museum to acquire and safeguard the murals by Shahn, Guston, and Fogel, noting the institution's recent exhibitions of Shahn and Guston. As reported by Hyperallergic, this plea builds on prior efforts to protect the building, amid fears that demolition could proceed rapidly under the current administration's infrastructure overhaul plans, as outlined in Bloomberg.
Broader Implications: Cultural Heritage in Peril
This campaign is part of a larger narrative about the fragility of public art in America. Unlike countries with robust heritage laws, such as Italy or Mexico, the U.S. has seen numerous losses— from WPA murals painted over to historic sites demolished for development. The Cohen Building's fate ties into Trump's vision for a "neoclassical" redevelopment of federal properties, potentially replacing modernist architecture with grander styles, as discussed in Backbencher and Threads.
Advocates argue that preserving these murals honors the Jewish-American artists' legacies, combats cultural erasure, and educates future generations about social welfare's origins. Failure to act could set a precedent for further disposals, diminishing the nation's artistic patrimony.
Conclusion: A Call to Action for Cultural Stewardship
As the art community mobilizes, the fate of these murals hangs in the balance. The open letter to the Jewish Museum represents a beacon of hope, urging institutions to step in where government falters. Whether through relocation, advocacy, or legal challenges, saving the "Sistine Chapel of New Deal Art" would affirm that cultural heritage transcends politics. For those interested in supporting the cause, consider signing petitions or contacting representatives—preservation is a collective responsibility.
FAQ
Q: What is the Wilbur J. Cohen Federal Building, and why is it significant? A: The Wilbur J. Cohen Federal Building is a 1940 structure in Washington, D.C., originally built for the Social Security Administration. It's significant for its New Deal-era artworks, earning the nickname "Sistine Chapel of New Deal Art" due to its extensive murals and reliefs that symbolize social welfare themes.
Q: Who are the key artists involved in the murals? A: The murals were created by Ben Shahn (The Meaning of Social Security), Philip Guston (Reconstruction and Well-Being of the Family), and Seymour Fogel (Wealth of the Nation and The Security of the People). All were Jewish-American artists prominent in the social realist movement.
Q: What prompted the open letter to the Jewish Museum? A: The letter was prompted by the U.S. government's November 2025 decision to list the building for accelerated disposal, followed by demolition bids in December. It urges the museum to save the artworks, given its recent exhibitions of Shahn and Guston.
Q: Who signed the letter? A: Written by Elise Engler, Joyce Kozloff, and Martha Rosler, it has been signed by hundreds, including Joan Semmel, Rochelle Feinstein, Joan Snyder, Lucy Lippard, and Kay WalkingStick.
Q: What are the arguments for preserving the murals? A: Proponents highlight the U.S.'s poor track record in public art preservation, the historical and cultural value of New Deal art, and the artworks' role in documenting social welfare history. Demolition would represent a loss of irreplaceable heritage.
Q: How can the public get involved? A: Individuals can support by signing the letter (if available publicly), contacting the GSA or elected officials, or donating to preservation organizations like the National Trust for Historic Preservation. Stay updated via news sources like Hyperallergic or The Washington Post.