The Smithsonian exhibit The Shape of Power: Stories of Race and American Sculpture was specifically
cited by President Trump in his recent executive order “Restoring Truth and Sanity to American History” complaining that the Smithsonian is promoting a “corrosive ideology”. The exhibit explores the intersection of race, power, and the country's public monuments through the lens of sculpture, critically examining how sculptures have historically been used to represent power dynamics, reinforce ideologies, and shape social narratives. We sent LHF intern Mircy Coca Soriano over to check it out and look for representations of work and workers.
Judith F. Baca’s Primero de Mayo: “Big Pancho” (2006) is a powerful sculpture that encapsulates themes of labor, cultural heritage, and resistance, especially within the context of Chicano history and activism. From the moment I saw it, the piece captivated my attention. The sculpture, titled May Day: Big Pancho, depicts a hunched figure seated on the ground, arms wrapped around his legs, head lowered and partially shielded by a sombrero. His shirt becomes a canvas for protest—a march of Latinos, specifically Chicanos, stretches across his back, with participants of all ages, from children to elders, unified in action. As I moved closer, I noticed the phrase “Pueblo Unido” repeated on his feet—“The people united.” This message, combined with the title May Day, evokes deep ties to labor movements and the global struggle for workers’ rights. Primero de Mayo, or May 1st, is recognized worldwide as International Workers’ Day, a time to honor solidarity and the fight for just working conditions. The figure of “Big Pancho” may also allude to Pancho Villa—a symbol of rebellion and resistance for the oppressed and working classes. Baca’s sculpture doesn’t just commemorate past labor struggles; it calls attention to the ongoing fight for dignity, equality, and justice in the workplace. By integrating powerful historical and cultural symbols, Baca invites us to reflect on how workers—especially those from marginalized communities—remain at the heart of social change and progress.
This sculpture is a visual reminder that the fight for justice is not over—and that the legacy of collective action lives on.
by Mircy Coca Soriano
On view at the Smithsonian American Art Museum through September 14, 2025; Open Daily, 11:30 a.m.–7:00 p.m. Free Admission