American historians who manufactured the enola gay exhibit
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The situation was complicated by the appearance of counter-protests from a variety of scholarly groups and peace activists who chastised the Museum for caving in to the critics," Crouch said.
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Members of the House and Senate expressed their dissatisfaction. "Public outrage, fed by an avalanche of critical stories in the news media, reached a fevered pitch. Plans for the exhibition included not only the plan and photographs of the results of the bombing, but, critics said, devoted far too much space to moral issues without considering reactions from Americans on both sides of the issue. "If the Museum has an obligation to inspire its visitors," said Thomas Crouch, chairman of the Aeronautics Department at the Smithsonian's National Air and Space Museum, "we believe that it should also at least occasionally move beyond that function in an effort to help visitors understand the complex background of aerospace development and the impact those developments have on the world." Crouch supervised curators who prepared the original script for the interpretive exhibit of the Enola Gay. Panelists agreed that it was important to mount exhibitions that are controversial, but varied in their approach to doing so. Enola Gay experience teaches need for sensitivity Enola Gay experience teaches need for sensitivityĬonsiderably more than a year of writing, collecting, planning and organizing crumbled in January when the Smithsonian Institution, under fire from veteran's groups, scrapped plans for an exhibition featuring Enola Gay, the B-29 warplane that dropped the atomic bomb on Hiroshima, signaling the beginning of the end of World War II.įour panelists gathered here last week at a symposium on controversial museum exhibits sponsored by the U-M and the Smithsonian Institution to discuss "The Enola Gay Exhibit: A Case Study in Controversy," and to try to determine what led to such a high level of conflict.