The U.S. Department of State is considering selling a painting by acclaimed artist Kehinde Wiley after the artwork was removed from the U.S. Embassy in the Dominican Republic, a move that has intensified a debate over the government’s approach to art and cultural representation.

The painting, “Young Artists After Siamesas 1960,” had been displayed at the U.S. Embassy in Santo Domingo. The work features Dominican models against a floral background and was created as part of the State Department’s Art in Embassies program, which has used visual art as a tool of international engagement for decades.

State Department officials said they are consulting legal representatives to determine whether the painting can be sold. The department has not announced a final disposition for the artwork, and the legal process surrounding a possible sale remains under review.

The controversy began after officials criticized the work as inconsistent with the administration’s preferred cultural message. Erin Scavino, the director of the Art in Embassies program, described the painting as “very woke” and “aesthetically terrifying” in comments reported by media outlets. U.S. Ambassador to the Dominican Republic Leah Campos also publicly supported removing the artwork, saying the embassy should reflect American values as defined by the current administration.

Wiley is one of the most recognizable contemporary American painters of the past two decades. He became widely known after being selected to create former President Barack Obama’s official presidential portrait, which was unveiled at the Smithsonian’s National Portrait Gallery in 2018. His work often draws from the traditions of European portrait painting while replacing historical subjects with contemporary people, particularly Black and Brown figures.

The State Department previously highlighted Wiley’s contributions to cultural diplomacy. The department’s own Art in Embassies materials have described his work as reexamining portraiture traditions and placing contemporary subjects into visual settings historically associated with power and status.

“Young Artists After Siamesas 1960” was created through a collaboration involving Dominican cultural references and local artistic influences. The work was inspired by Dominican artists and formed part of a broader effort by the embassy art program to connect U.S. diplomatic spaces with local creative communities.

Critics of the removal argue that embassy art collections are designed to represent cultural exchange rather than serve as political statements. Former officials associated with Art in Embassies have defended the program’s approach, saying that works are selected for artistic and diplomatic value rather than partisan messaging.

Supporters of removing the painting have focused on Wiley’s broader public controversies, including criticism of past comments and allegations of sexual misconduct that the artist has denied. Officials cited these issues when explaining their concerns about keeping his work in State Department spaces.

The potential sale of the painting would mark an unusual step for a government cultural collection. Art in Embassies has traditionally focused on acquiring, displaying, and lending works to diplomatic locations around the world rather than removing pieces because of political disagreements over an artist’s style or reputation.

The dispute also highlights a larger national conversation over the role of public institutions in cultural decision-making. Museums, universities, and government agencies across the United States have faced debates about whether artistic selections should prioritize historical significance, representation, public sentiment, or changing political priorities.

For the State Department, the Wiley painting controversy comes as officials reassess how American culture is presented abroad. The Art in Embassies program, established as part of U.S. cultural diplomacy efforts, has historically sought to promote dialogue through art while reflecting different aspects of American creativity and identity.

As the department reviews whether the painting can be legally sold, the final decision could influence future discussions about government-owned artworks and the balance between artistic independence and political leadership in federal cultural programs.