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President Trump signed an executive order earlier this year seeking to reverse the spread of what the administration deemed to be representative of divisive ideology at museums across the country.
Trump announced last month the White House would be conducting an internal review of exhibitions and materials at the Smithsonian.
Yocelyn Riojas is a Texas border artist whose work focuses on activism and social impact.
Her poster, My Dreams Are Not Illegal, was among dozens of artworks and learning materials at the Smithsonian the White House targeted in a recent article for being “anti-American.” The Molina Family Latino Gallery at the Smithsonian, where Riojas’ artwork is displayed, has announced that it’s closed through spring 2026.
This conversation has been edited for clarity and length.
RIOJAS: It features this Afro-Latina woman with the hair going up in the sky. It has a light sky blue background and monarch butterflies are just kind of decorating her hair and surrounding her. For those who aren't quite aware, the monarch butterfly is a symbol for resistance and freedom of borders. But within her hair, it has the message, “My dreams are not illegal.”
So, I drew this background in 2017. It was during the first Trump administration when they were announcing that DACA (Deferred Action for Childhood Arrivals) would expire. And again, just as usual, things are always in limbo when it comes to that program. But I had just been exploring illustrations and using my voice towards issues that matter to me or that I find important, that can be highlighted in a positive way.
I wanted to create art that focused on the cultural celebration aspect of it versus what the government deemed a national threat. Apparently, that message has captured so much attention within that year and without me planning it, I saw it grow from something that I just created locally in Texas into something that took over a national appearance in protests everywhere.
NAVARRO: So, you created that artwork in 2017. We're in 2025 now, and the message of the artwork is still very much so pertinent. So, tell us a little bit about how your artwork ended up in a Smithsonian exhibition.
RIOJAS: So, the art piece was chosen for the exhibition ¡Presente! A Latino History of the United States. So, it's been featured in the American History Smithsonian Museum for quite a few years now, while they've been building the National Museum of the American Latino. It's been there since 2022.
I got an email around 2020 that just kind of shared, like, “Hello! We purchased your poster and, by the way, it's going to be in the Smithsonian.”
NAVARRO: So, your artwork is part of this exhibition that highlights the Latino immigrant experience within the United States?
RIOJAS: Yes, you can see it on the website, and it's in one of their glass cases as well. That just kind of highlights, I would say, just the history of how the American Latino has been living here and going through colonization, and then our identity shifts into what we are today.
NAVARRO: So, President Trump signed an executive order earlier this year urging museums, the Smithsonian, to focus on “Americanism” within the institutions. The White House recently came out with an article that was titled, "President Trump is right about the Smithsonian." It’s targeting artworks and displays that it’s calling “divisive and ideological.” It’s calling certain exhibitions anti-American because they highlight exploitation felt by African Americans, Latinos, LGTBQ+ community members. How did you find out your artwork was included in this White House article and what was your reaction to it?
RIOJAS: I was actually notified by somebody who contacted me through my socials on Instagram about how my poster was chosen to be on the list of artworks that (were) deemed divisive. I had no clue. I know a week before or so, they were announcing that they were considering removing certain artworks from the Smithsonian, but never did I ever think anybody would care for mine. I'm just a girl from the border who creates artwork for social issues that matter to me and my community.
It wasn't until somebody reached out and kind of notified me and was like, “Have you seen the Washington Post article? You're on it.” And it's like, “What do you mean?” Then I just came across the White House article with my artwork listed with no context. It’s just basically a bullet list listing why certain artworks are “too woke” or “too divisive.” And that basically all the artworks featured within this exhibition focused on Latinos is just centralizing the idea of victimhood and exploitation and colonization, which apparently the Trump administration does not agree with.
NAVARRO: What was your reaction to seeing that it was the Trump administration that was lumping it into this idea of victimhood and exploitation? What is your artwork for you and how is it (different) from how the Trump administration is looking at it?
RIOJAS: My reaction was, wow, that message must have been powerful enough to be able to even gather their attention. For me, you know, it's a print. But never did I think that the Trump administration would ever really take notice to the work I was creating.
I would say in a weird way, it's like it's a proud moment, but also saddening that they are attempting to censor voices such as mine and regulate artwork and censorship just to fit this narrative of what America should be.
NAVARRO: You are an artist from the border city of Eagle Pass, which became a big focus of the fight on immigration during the last year of the Biden administration, and the role that Texas played in that. Why do you think that it's important to have art that reflects these Latino and immigrant experiences and to have them in places like the Smithsonian?
RIOJAS: I started creating this work because for me, when I was living in the cities and I was getting my education and just really diving into politics — since that's where I work in today — I was finding that there's a void in artwork in general, within these the spaces of the movement. I didn't see as much artwork that was celebrating our identities or our communities — no matter what color we are or what our immigrant backgrounds are. I'm a dual citizen. I'm naturalized and I'm very proud that I get to be able to call both countries my home: Mexico and America.
This artwork felt like it needed to exist in a space that celebrated who we were and acknowledge the issues. It also lent a hand to the community to understand these issues are happening, whether you like it or not. We need to take acknowledgement of it and we also need to recognize that our communities aren't a threat. A lot of people have reached out over the years to let me know that they're so happy just to see this positive messaging that makes them proud of their identities versus scared of what is to come. There are things to love about ourselves, there are things to celebrate.
Even now, recently, with this poster, a lot of people were hearing about what the Trump administration is deciding to do every other day, since things are always happening so quick. And then the Smithsonian came about, and once people realize — those who were close to me, or other people who follow and support my work— like, “Oh, wow, it can affect even someone such as her.” Then, yes, this is actually an act of censorship upon all community members. No matter how big or small.
NAVARRO: And looking ahead, now that your art has been targeted, what’s your hope going forward as an artist that reflects the experiences of the Latino and immigrant communities?
RIOJAS: I've currently made my artwork available, at least this piece. I wanted to make sure, you know, this art still has a voice, and it still has a place, and people have availability to it.
If anything, I think it's lit a fire in me to continue doing the work and not take a break or a pause, because no matter what, with this current administration, they will keep finding ways to silence us or to censor us in any way to fit this idealism of what they believe white America should look like. That is not the case. We're a melting pot of different cultures and identities, and I'm going to keep on making more artwork, and I encourage others to also step up and really dive into who they are and their identities, and not just their personal interests.
We have skills and we have talents, and we have voices, and we should be able to use them to engage with our communities and also push them to really care about themselves as well.
NAVARRO: The article targeted, of course, other artworks that were part of not only this exhibition, but others within the Smithsonian. By any chance, have you been in contact with any of the other artists, or heard anything from the other artists about their works being targeted as well?
RIOJAS: No, I haven't been in contact with any of them, but I think this is the opportunity to do so. I've noticed, you know, anything from slavery related to the, you know, LGBTQ+ community and so forth is being threatened from the Smithsonian.
It just shows our voices are just so powerful. I think maybe this is a time to connect, to network, and also, again, just keep on building our art and their campaigns against this.
