In his 1996 book AnĮxhibit Denied: Lobbying the History of the Enola Gay, Harwit continued toĭivert blame away from himself, saying “the nation is the poorer for what they Transparency by museums in disclosing whose historical analysis the exhibit Particularly in a national institution there have been calls for greater Several questions about the roles and responsibilities of museum curators, Harwit’s actions and comments regarding the Enola Gay exhibit have raised Scholars have since criticised Harwit for prioritising his “particularĪpproach” over the voices of the people represented in his exhibit. However, attempts to alter the exhibit inĪccordance with the veterans’ wishes were denounced by historians in academicĬircles, who condemned the “celebratory tone” of the modified exhibit. Western Imperialism,” as labelling World War II veterans and the American Air Vengeance,” while Japan fought a “war to defend their unique culture against Own conclusions.” Harwit’s position was condemned by veterans groups, who sawĪn early draft of the exhibit that described America as fighting a “war of
Piece but rather the basic information that visitors will need to draw their Smithsonian in the construction of an exhibit that would be “not an opinion The conflicting views regarding the bombing of Japan would be obstacles for the He recognised, even at this preliminary stage, that The exhibit as filling the need for a discussion about the circumstances surrounding Post column about the proposed displaying of the Enola Gay, Harwit identified