Hundreds of artists and cultural workers have rallied together in an urgent call to action, imploring the Jewish Museum in New York City to step forward and advocate for the preservation of the Wilbur J. Cohen Building in Washington, D.C. This architectural landmark is home to a considerable collection of New Deal-era murals, featuring the significant contributions of Jewish artists like Ben Shahn, Philip Guston, and Seymour Fogel.
In a letter co-authored by notable artists Elise Engler, Joyce Kozloff, and Martha Rosler, the signatories urge the museum to take a vocal stand as the administration accelerates plans to potentially sell the Cohen Building, amid fears of its demolition. The letter emphasizes the need to “speak now on behalf of our artist predecessors,” addressing concerns that the building’s sale could hasten its destruction.
Completed in 1940, the Wilbur J. Cohen Building originally served as the headquarters for the Social Security Administration, situated conveniently across from the National Mall. Today, it houses the offices of Voice of America and the U.S. Agency for Global Media, both of which have faced significant funding cuts under the Trump administration.
Inside, the murals—painted and carved into the structure—depict poignant scenes of community life and the social safety net, featuring mothers with their children, unemployed workers, and individuals facing homelessness. These artworks serve as a powerful reminder of the legacy of the Social Security Act, which was enacted in 1935 as part of the New Deal. Their significance extends beyond mere aesthetics, capturing the essence of a time when social support was a cornerstone of American life.
Despite some efforts to promote the building’s preservation via petitions circulating widely on social media, the co-authors of the letter express confidence that the Jewish Museum’s recent exhibitions celebrating Shahn and Guston provide a unique platform from which to advocate. The letter, delivered to museum officials on January 9, has garnered support from both the museum’s director and board chair, who have expressed their commitment to preserving cultural heritage.
In a statement, the museum’s director, James Snyder, emphasized the institution’s dedication to art stewardship, reaffirming the urgent need to protect these historic murals amidst rising concerns about their fate. As of January 2026, over 380 artists have signed this crucial letter, including Joan Semmel and Jenne M. Currie, daughter of Ethel Magafan, whose work is displayed in the Cohen Building.
Elise Engler reflected on her motivation for this initiative, recalling her experience viewing the murals during a visit. She envisions a future where the Cohen Building could transform into a museum dedicated to the New Deal’s history—a concept that currently lacks representation.
The urgency of this campaign stands in stark contrast to the broader political landscape, where the destruction of cultural heritage is alarmingly linked to human rights violations. The administration’s moves against public cultural assets like the Cohen Building, which symbolizes social assistance, intensify the relevance of this fight.
As Engler, Kozloff, and Rosler advocate for the preservation of the building and its murals, they call on the arts community to counter historical erasure. They assert, “We are overwhelmed and horrified by the news every day, but this was something we could do as artists: speak out about our heritage, our legacy, and invite other artists to join us.”
As the campaign continues to gain traction, the artistic community invites others to add their signatures to the cause. The fate of the Wilbur J. Cohen Building remains uncertain, but the movement to safeguard its legacy is underway, embodying a collective effort to protect cultural heritage for future generations.
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