US President Donald Trump’s intervention in the Smithsonian Institution signals a new phase in America’s culture wars. In this insightful commentary, Dr. João Ferreira Dias argues that the notion of “cultural Marxism” has evolved from a conspiracy theory into a category of governance used to legitimize state intervention in museums, universities, and other institutions that shape public knowledge. Tracing the concept’s genealogy from Nazi-era “cultural Bolshevism” to the contemporary MAGA movement, the article explores how culture-war narratives become instruments of illiberal memory politics. It further demonstrates the irony that, while denouncing a supposed Marxist “long march through the institutions,” the Trumpist right is itself engaged in a Gramscian struggle to reshape American history, national identity, and democratic citizenship.
Donald Trump’s latest intervention in the Smithsonian Institution marks a significant development in the American culture wars. The idea of “cultural Marxism” is no longer functioning solely as a conspiratorial explanation for social and cultural change. Under MAGA, it is increasingly becoming an administrative category used to justify governmental intervention in museums, universities, archives and other institutions responsible for producing public knowledge. Tracing the genealogy of this political specter from interwar Germany to the American conservative movement, this commentary argues that the campaign against “cultural Marxism” is part of a broader illiberal politics of memory. Ironically, while denouncing a supposed Marxist “long march through the institutions,” the Trumpist right is conducting its own Gramscian war of position over American history and national identity.
From Political Rhetoric to Executive Action
On July 24, 2026, Donald Trump signed an executive order entitled “Restoring Trust in the Smithsonian Institution.” The measure followed a report prepared by the White House Domestic Policy Council, Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage. The executive order does not literally command the immediate removal of every “trace of Marxist ideology” from all the museums, libraries and educational collections that comprise the Smithsonian Institution. Its legal and administrative scope is more specific. It directs several federal authorities to identify and use the legal, financial and contractual mechanisms available to encourage the Smithsonian to address the alleged problems identified in the Domestic Policy Council’s report.
It also orders the installation of temporary signs and exhibitions on National Park Service property surrounding the National Museum of American History. These signs are intended to warn visitors about what the administration calls the museum’s “ideological capture” and to direct them towards supposedly more accurate interpretations of American history.
The broader political message is less restrained. In its official fact sheet, the White House accuses the Smithsonian’s leadership of replacing historical education with extreme political activism “rooted in Marxism.” Exhibitions and programmes concerning slavery, race, migration, gender, Indigenous peoples, LGBT rights and social justice are grouped together as expressions of a single ideological project allegedly designed to divide and demoralize the American people (The White House, 2026a; Domestic Policy Council, 2026).
This episode represents more than another rhetorical confrontation between Trump and progressive cultural institutions. It marks the conversion of “cultural Marxism” from a polemical label into a category legitimizing state intervention in the production of historical knowledge.
The Genealogy of a Political Specter
To understand the significance of this development, it is necessary to reconstruct the historical genealogy of the concept.One of the principal antecedents of what is now called “cultural Marxism” appeared in Germany during the 1920s and 1930s. Conservative, nationalist and subsequently Nazi political actors used the term Kulturbolschewismus—“cultural Bolshevism”—to classify modern art, secularism, sexual reform and other forms of cultural experimentation as parts of a communist assault on German society.
In Nazi propaganda, modernist and avant-garde art was frequently described as the product of Jewish and communist influences allegedly seeking to weaken the German nation. “Cultural Bolshevism” thus became intertwined with the antisemitic mythology of a Jewish-Bolshevik conspiracy against Western civilization (United States Holocaust Memorial Museum, 2020). It would be historically reductive to claim that every contemporary use of “cultural Marxism” is simply a reproduction of Nazi ideology. There is no straightforward organizational continuity connecting the propaganda of the Third Reich to all present-day conservative actors who employ the expression. There is, nevertheless, a significant narrative continuity. In both cases, complex and decentralized social transformations are attributed to the coordinated actions of a hostile intellectual minority. Cultural change is interpreted not as the outcome of political conflict, generational replacement, technological transformation or social mobilization, but as evidence of a deliberate plan to destroy the nation, religion and the traditional family from within.
The Weimar Republic provided a particularly fertile environment for this political imaginary. Berlin became an intense laboratory of cultural modernity, associated with artistic experimentation, new forms of sexuality, cabaret culture, drugs and popular dances such as the foxtrot. Yet this cultural effervescence coexisted with political corruption, organized crime, economic instability and escalating street violence. The television series Babylon Berlin offers a dramatic representation of this atmosphere. The streets and cultural institutions of the German capital became battlegrounds between competing visions of society: Nazi racial nationalism, which glorified the German nation and its mythological past, and communism, which advanced a transnational and class-based conception of political identity.
The conflicts of this period helped shape political cosmologies that continue to reappear in altered forms. The tension between cultural progressivism and moral conservatism did not disappear with the end of the interwar period. It became one of the organizing antagonisms of modern culture-war politics.
The Frankfurt School as a Political Scapegoat
The Institute for Social Research was established in Frankfurt in 1923. Under the intellectual leadership of Max Horkheimer, it brought together thinkers including Theodor Adorno, Herbert Marcuse, Erich Fromm and Friedrich Pollock. The intellectual tradition subsequently known as the Frankfurt School examined capitalism, authoritarianism, antisemitism, mass culture, social psychology and fascism. Its thinkers were influenced by Marxism but did not constitute a homogeneous doctrinal bloc. Several were deeply critical of Soviet communism, economic reductionism and orthodox versions of Marxist theory (Jay, 1973).
After the Nazi seizure of power, the Institute was closed by the Gestapo. It moved first to Geneva and then, in 1934, to New York, where it became affiliated with Columbia University. Its members’ experiences of exile, fascism and antisemitism shaped their research into authoritarian personality structures, propaganda and the political uses of mass culture. The Frankfurt School unquestionably influenced sections of the post-war New Left, particularly through the writings of Herbert Marcuse. Intellectual influence, however, is not evidence of political coordination.
The contemporary conspiracy theory transforms a diverse and frequently internally divided intellectual tradition into the command center of a centralized plan to capture universities, the media, the family and the moral foundations of Western society. It retrospectively fuses the Frankfurt School with Antonio Gramsci’s writings on cultural hegemony, despite the substantial theoretical, historical and political differences between these traditions. In this account, Marxists supposedly concluded that Western workers would not support a proletarian revolution because they remained attached to Christianity, nationalism and the traditional family. The alleged solution was therefore to undermine those institutions through universities, entertainment, feminism, multiculturalism and movements for racial and sexual equality.
There is no historical evidence of such a coordinated programme. The theory produces unity at the level of the imagined enemy rather than at the level of intellectual history. Marxism, postmodernism, psychoanalysis, feminism, critical race theory, queer theory and liberal multiculturalism are treated as interchangeable components of one political project, even though they emerged from different traditions and are often theoretically incompatible. As Martin Jay (2010–2011), Jérôme Jamin (2018) and Joan Braune (2019) demonstrate, the Frankfurt School has consequently become a political scapegoat onto which anxieties concerning cultural transformation can be projected.
The contemporary use of “cultural Marxism” cannot always be reduced to conscious antisemitism. Many who repeat the term may be unaware of its historical genealogy. Nevertheless, the conspiracy frequently reproduces older antisemitic structures: cosmopolitan intellectuals, often identified as Jewish, are imagined as operating behind the scenes to control education, culture and the media while dissolving religion, national identity and traditional morality.
The American Consolidation of “Cultural Marxism”
Although anti-communist paranoia remained politically active throughout the Cold War, the contemporary American narrative of “cultural Marxism” consolidated during the culture wars of the 1990s. In a 1999 “Letter to Conservatives,” the influential conservative strategist Paul Weyrich equated political correctness with cultural Marxism. He argued that universities, the entertainment industry and other cultural institutions had been deliberately captured by an ideology fundamentally hostile to Western Judeo-Christian civilization.
The following year, William S. Lind systematized this interpretation in his speech “The Origins of Political Correctness.” According to Lind, Marxism had transferred its revolutionary strategy from economics to culture. The opposition between proletarians and the bourgeoisie had supposedly been replaced by conflicts involving racial, sexual and cultural identities.Under this interpretation, women, racial minorities and LGBT people became substitute revolutionary subjects, while white people, men, Christians and heterosexuals were recast as the new bourgeoisie. Political correctness was presented as the disciplinary language of this new revolutionary order (Lind, 2000).
This formulation became part of the ideological DNA of the contemporary conservative reaction. It offered a comprehensive explanation for feminism, multiculturalism, secularization, changing sexual norms, affirmative action and the increasing public recognition of historically marginalized groups. Its analytical weakness was also the source of its political strength. Because “cultural Marxism” lacked a precise definition, it could incorporate almost any development regarded as culturally threatening. It became what might be called a conspiratorial master signifier: a category capable of transforming heterogeneous opponents into manifestations of a single hostile force.
The discourse subsequently circulated beyond the United States. As research into Australia and Brazil demonstrates, the conspiracy theory can be adapted to different national contexts while retaining its central narrative of institutional capture and moral subversion (Busbridge et al., 2020; Silva, 2021).
MAGA, Cultural Backlash and the Mythic Past
Donald Trump’s rise and the emergence of the MAGA movement revitalized this political grammar. The cultural backlash thesis developed by Pippa Norris and Ronald Inglehart helps explain the social conditions under which such narratives become effective. Their argument does not suggest that every supporter of populist radical-right movements is economically deprived or culturally conservative. Rather, it identifies the political consequences of perceived status loss among social groups that once occupied more secure positions within dominant cultural hierarchies (Norris & Inglehart, 2019).
Changes associated with racial equality, feminism, secularization, immigration and LGBT rights can be experienced by some groups not simply as the extension of citizenship to others, but as the displacement of their own identity and social authority. Populist entrepreneurs convert these perceptions into a narrative of cultural dispossession. Trump’s promise to “Make America Great Again” operates through this temporal logic. As Jason Stanley argues, fascist and authoritarian politics frequently construct a mythic past: an imagined period of national greatness, social unity and moral order that existed before the nation was corrupted by internal and external enemies (Stanley, 2018).
The MAGA past does not correspond to one historically coherent period. It is a selective composite. It combines industrial prosperity, energy expansion, patriarchal family structures, white Christian morality and American geopolitical supremacy while suppressing the history of racial segregation, Jim Crow legislation, gender inequality and political exclusion. The political purpose of this myth is not historical accuracy. It is to define the present as a period of national decline and to identify those allegedly responsible for it.
In classical populist discourse, society is divided between the “pure people” and the “corrupt elite” (Mudde, 2004). The cultural-Marxist narrative adds another layer to this division. The elite is not merely corrupt or self-interested. It is portrayed as the institutional agent of an ideological project seeking to transform the identity of the nation. Professors, teachers, curators, journalists, civil servants and cultural workers are therefore represented as members, or at least instruments, of an internal occupying force.
The Smithsonian and Illiberal Memory Politics
The intervention in the Smithsonian reveals how this conspiratorial worldview can be translated into an illiberal politics of memory. The Domestic Policy Council’s report presents the National Museum of American History as an institution captured by an intersectional form of critical theory allegedly rooted in Marxism. Its criticism is directed not only at factual inaccuracies but also at the museum’s interpretative orientation.
The report objects to the idea that museums should “reframe” celebratory national narratives, promote social justice or examine how historical institutions reproduced racial, gendered and economic inequalities. It contrasts this approach with a conception of the museum as a patriotic institution intended to cultivate gratitude, national pride and confidence in American exceptionalism.
This is ultimately a conflict over the democratic function of public history. Museums are not ideologically neutral repositories of objects. They select events, construct narratives and determine which voices and experiences are incorporated into the national memory. A museum that addresses slavery, colonialism or racial exclusion is not necessarily replacing history with ideology. It may instead be expanding the historical community whose experiences are considered worthy of public recognition.
Legitimate disagreements can exist concerning curatorial balance, political activism, historical interpretation and the use of public funds. The conspiratorial move occurs when these disagreements are explained through a single totalizing cause: the coordinated capture of cultural institutions by Marxist activists. The Trump administration resolves the controversy by claiming that one interpretation is ideological while its own is merely truthful and patriotic. State intervention is consequently presented not as the politicization of culture but as the restoration of neutrality.
This is a characteristic illiberal operation. The government denies that it is imposing an official interpretation of history. Instead, it claims to be liberating institutions from an ideology already imposed by others. The result is a reversal of power. Although the executive possesses administrative authority, access to public funding and the capacity to pressure institutions, it continues to represent itself as the insurgent victim of an entrenched cultural elite. Governmental coercion is thereby reframed as democratic restoration.
The Gramscian Irony of the MAGA Right
There is an important intellectual irony at the center of this campaign. While condemning an alleged Marxist “long march through the institutions,” the radical right has increasingly adopted a strategy that can itself be described as Gramscian. It recognizes that political power depends not only on winning elections or controlling the state, but also on shaping common sense, collective memory and the moral vocabulary through which society understands itself.
Recent research on transnational radical conservatism demonstrates that sections of the right have consciously appropriated concepts such as hegemony, counter-hegemony, metapolitics and the “war of position” (Abrahamsen et al., 2024). Think tanks, publishing houses, universities, legal organizations, religious networks and digital platforms become sites of counter-hegemonic struggle. Their purpose is to challenge the cultural authority of liberal institutions and make previously marginal ideas appear legitimate, reasonable and eventually dominant.
The MAGA campaign against the Smithsonian should be understood within this broader strategy. The objective is not merely to correct individual exhibitions. It is to redefine the legitimate purpose of a national museum, determine which interpretations of American history can receive public support and discredit critical historiography as evidence of ideological subversion. The right accuses the left of capturing institutions while developing its own programme for their political realignment. This does not mean that the two projects are normatively or historically identical. It does mean that the Trumpist right has understood a central Gramscian insight: durable political power requires the transformation of cultural authority.
From Paranoid Style to a Technology of Government
Richard Hofstadter’s concept of the “paranoid style” remains useful for understanding the emotional and narrative structure of the cultural-Marxist conspiracy. The term does not constitute a clinical diagnosis. It describes a political style in which history is interpreted as the product of an immense, coordinated and morally evil conspiracy (Hofstadter, 1964).
Yet the Smithsonian episode demonstrates that the phenomenon can no longer be understood as rhetoric alone. Under MAGA, the paranoid style is becoming a technology of government. The accusation of ideological capture creates the justification for investigations, funding restrictions, administrative pressure, public warnings and the political supervision of cultural institutions.
The operation is relatively simple. First, institutions are declared to have been captured. Second, every critical interpretation of national history is transformed into evidence of that capture. Finally, governmental intervention is presented not as the politicization of culture, but as the restoration of historical neutrality.
There is no evidence of a centralized Marxist plan controlling American universities, museums and media organizations. The narrative nevertheless fulfils an important political function. It consolidates the MAGA electorate, converts social complexity into moral conflict and transforms political opponents into agents of civilizational subversion. Trump is therefore doing more than accusing the Democratic Party and progressive institutions of Marxism. He is mobilizing his political base through a genuine war of position over the soul of America.
The struggle concerns who have the authority to tell the national story, which historical experiences deserve public recognition and whether democratic citizenship requires patriotic reassurance or the critical examination of the past. The specter of “cultural Marxism” may have little correspondence with intellectual or institutional reality. Its political consequences, however, are becoming increasingly real.
References
Abrahamsen, R.; Drolet, J.-F.; Williams, M. C.; Vucetic, S.; Narita, K. & Gheciu, A. (2024). World of the right: Radical conservatism and global order. Cambridge University Press.
Braune, J. (2019). “Who’s afraid of the Frankfurt School? ‘Cultural Marxism’ as an antisemitic conspiracy theory.” Journal of Social Justice, 9, 1–25.
Busbridge, R.; Moffitt, B. & Thorburn, J. (2020). “Cultural Marxism: Far-right conspiracy theory in Australia’s culture wars.” Social Identities, 26(6), 722–738. doi: 10.1080/13504630.2020.1787822
Domestic Policy Council. (2026). Saving America’s story: How ideological capture at the Smithsonian Institution’s National Museum of American History erases our heritage. The White House.
Hofstadter, R. (1964). “The paranoid style in American politics.” Harper’s Magazine, 229(1374), 77–86.
Hunter, J. D. (1991). Culture wars: The struggle to define America. Basic Books.
Jamin, J. (2018). “Cultural Marxism: A survey.” Religion Compass, 12(1–2), e12258. doi: 10.1111/rec3.12258
Jay, M. (1973). The dialectical imagination: A history of the Frankfurt School and the Institute of Social Research, 1923–1950. Little, Brown and Company.
Jay, M. (2010–2011). “Dialectic of counter-enlightenment: The Frankfurt School as scapegoat of the lunatic fringe.” Salmagundi, 168/169, 30–40.
Lind, W. S. (2000). “The origins of political correctness.” Accuracy in Academia.
Mirrlees, T. (2018). “The alt-right’s discourse on ‘cultural Marxism’: A political instrument of intersectional hate.” Atlantis: Critical Studies in Gender, Culture & Social Justice, 39(1), 49–69.
Mudde, C. (2004). “The populist zeitgeist.” Government and Opposition, 39(4), 541–563. doi: 10.1111/j.1477-7053.2004.00135.x
Norris, P. & Inglehart, R. (2019). Cultural backlash: Trump, Brexit, and authoritarian populism. Cambridge University Press.
Silva, M. (2021). “O marxismo cultural no Brasil: Origens e desdobramentos de uma teoria conservadora.” Cultura y Religión, 15(1), 180–222.
Stanley, J. (2018). How fascism works: The politics of us and them. Random House.
The White House. (2025). Executive Order 14253: Restoring truth and sanity to American history.
The White House. (2026a). Fact sheet: President Donald J. Trump restores trust in the Smithsonian Institution.
The White House. (2026b). Executive order: Restoring trust in the Smithsonian Institution.
Weyrich, P. M. (1999). “Letter to conservatives.” National Center for Public Policy Research.















