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DTSTART;TZID=America/New_York:20250413T090000
DTEND;TZID=America/New_York:20270522T160000
DTSTAMP:20260621T163640
CREATED:20260129T143838Z
LAST-MODIFIED:20260406T130326Z
UID:10004326-1744534800-1811001600@massachusetts250.org
SUMMARY:Protest and Promise - The American Revolution in Lexington
DESCRIPTION:After years of tension between Great Britain and its North American colonies\, a skirmish on the town green in Lexington\, Massachusetts broke long-held bonds and ignited the American Revolutionary War. In an unprecedented moment in 1775\, ordinary people in Lexington made extraordinary choices. An entire community—women\, men\, black\, white\, young\, old\, enslaved\, and free—helped spark a revolution. Two hundred and fifty years later\, Americans continue to remember April 19\, 1775\, as a moment when everyday people shaped history. This exhibition explores the events of April 19\, 1775\, with images\, objects\, and an in-depth look at this watershed event and how it has been remembered.
URL:https://massachusetts250.org/event/protest-and-promise-the-american-revolution-in-lexington/
LOCATION:Scottish Rite Masonic Museum & Library\, 33 Marrett Road\, Lexington\, MA\, 02421\, United States
CATEGORIES:Exhibit
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ORGANIZER;CN="Scottish Rite Masonic Museum &amp%3B Library":MAILTO:info@srmml.org
GEO:42.4367685;-71.2141633
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Scottish Rite Masonic Museum & Library 33 Marrett Road Lexington MA 02421 United States;X-APPLE-RADIUS=500;X-TITLE=33 Marrett Road:geo:-71.2141633,42.4367685
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20271219
DTSTAMP:20260621T163640
CREATED:20251017T175135Z
LAST-MODIFIED:20251027T141338Z
UID:10003879-1759276800-1829174399@massachusetts250.org
SUMMARY:Witness: Hingham in the Age of Revolution
DESCRIPTION:As the Nation marks 250 years of independence\, Witness: Hingham in the Age of Revolution explores how one New England town experienced the ideas\, contradictions\, and upheavals of the American Revolution. Through the lives of Hingham’s residents– white and Black\, free and enslaved– this immersive new exhibit traces the ups & downs forging of a nation.
URL:https://massachusetts250.org/event/witness-hingham-in-the-age-of-revolution-2/
LOCATION:Hingham Heritage Museum\, Main Street 34\, Hingham\, MA\, 02043\, United States
CATEGORIES:Black History,Commemoration,Exhibit,Women's History
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Hingham Heritage Museum Main Street 34 Hingham MA 02043 United States;X-APPLE-RADIUS=500;X-TITLE=Main Street 34:geo:-70.8884264,42.2418694
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251201
DTEND;VALUE=DATE:20270101
DTSTAMP:20260621T163640
CREATED:20260129T230222Z
LAST-MODIFIED:20260129T230222Z
UID:10004377-1764547200-1798761599@massachusetts250.org
SUMMARY:Forging Independence | Building a Nation
DESCRIPTION:In celebration of the 250th anniversary of the American Revolution\, the New Bedford Whaling Museum will open a new suite of conjoined galleries in that explore stories of independence\, struggle\, and citizenship in the region during the late colonial and early Republican period (1760-1830). \nForging Independence | Building a Nation introduces connections between historical events and pressing issues of today\, asking visitors to consider what ideas are embodied in the terms and ideas of Independence and Nationhood. Words like patriotism\, freedom\, taxation\, citizenship\, liberty\, equality\, justice\, tolerance\, and independence serve as keystones within the installation to encourage thoughtful engagement with concepts that transcend the past and directly connect with our present. Associations forged between objects\, concepts\, and individuals broach insightful civic-minded questions about what it means to be “American.” What did colonial citizens think America should or would be\, and how do we today continue to ask those questions and shape that outcome today? \nForging Independence | Building a Nation outlines important regional historical events of the American Revolution\, including the Boston Tea Party\, which happened on the locally built and owned vessel the Dartmouth\, and Grey’s raid\, encompassing the defense of Fort Phoenix\, the siege and burning of Bedford Village\, and the Bombardment of Fairhaven. The installation frames these war-time events within larger state-wide and national arcs\, including the Stamp Tax Crisis\, Battle of Bunker Hill\, Occupation of Boston\, Massachusetts statehood\, the adoption of the State Bill of Rights\, and early activities tied to nation building. What did it mean to discard a system of governance and colonial allegiance and establish a new country? How did people grapple with and make sense of the revolutionary period and what came after? What ideas and tenets became pillars of that era\, how are their legacies felt today\, and what complications or tensions arose in that space of negotiation? \nThe project relies on the Museum’s expansive permanent collection to center and share diverse stories and experiences from Massachusetts\, consider the promises and challenges of the American Revolution\, and makes connections between past and present. The exhibition utilizes artifacts and archival sources to illuminate the stories of a broad range of individuals\, from local merchants who skirted blockades and traded as privateers to the narratives of private citizens and regional residents\, including men\, women and children of different classes\, ages\, ethnic and racial backgrounds\, and status\, immigrants\, Indigenous people\, and enslaved and free people of color. The exhibition includes the voices and stories of those who served in the American militia\, were passionate Revolutionaries\, outright ambivalent about Independence\, or avid British Loyalists.
URL:https://massachusetts250.org/event/forging-independence-building-a-nation/
LOCATION:New Bedford Whaling Museum\, 18 Johnny Cake Hill\, New Bedford\, MA\, 02740\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/01/Forging-Independence_25-scaled.jpg
ORGANIZER;CN="New Bedford Whaling Museum":MAILTO:communication@whalingmuseum.org
GEO:41.6352208;-70.9231544
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=New Bedford Whaling Museum 18 Johnny Cake Hill New Bedford MA 02740 United States;X-APPLE-RADIUS=500;X-TITLE=18 Johnny Cake Hill:geo:-70.9231544,41.6352208
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260418T093000
DTEND;TZID=America/New_York:20270103T163000
DTSTAMP:20260621T163640
CREATED:20260305T204622Z
LAST-MODIFIED:20260408T124758Z
UID:10007184-1776504600-1798993800@massachusetts250.org
SUMMARY:Picturing the Revolution
DESCRIPTION:Throughout the American War for Independence\, scores of images circumnavigated the globe\, fighting their own battles to establish a comprehensible narrative for the momentous events occurring in British North America. Differences in politics\, disruptions in communication\, and the delay of thousands of miles of distance produced competing and often contradictory accounts. Some images became enduring representations of the conflict. Others faded from memory. \nDrawing from Historic Deerfield’s rich collection of Revolutionary-era materials\, this exhibition explores the diverse ways that 18th-century individuals “pictured” or understood the Revolution as it unfolded. Looking across prints\, drawings\, maps\, broadsides\, portraits\, powder horns\, ceramics\, and satirical cartoons\, Picturing the Revolution highlights how images shaped local and global perceptions of the war: its landscapes\, its actors\, its causes\, and its goals. Mining these complex visual records reveals the often-overlooked importance of pictures in the shift from revolt to revolution\, and in envisioning a future for the new nation. \nThis exhibition has been made possible with support from the National Endowment for the Humanities and the Massachusetts Office of Travel & Tourism.
URL:https://massachusetts250.org/event/picturing-the-revolution/
LOCATION:Flynt Center of Early New England Life\, Old Main Street 37\, Deerfield\, Massachusetts\, 01342\, United States
CATEGORIES:Exhibit
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GEO:42.5422936;-72.6066878
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Flynt Center of Early New England Life Old Main Street 37 Deerfield Massachusetts 01342 United States;X-APPLE-RADIUS=500;X-TITLE=Old Main Street 37:geo:-72.6066878,42.5422936
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260418T093000
DTEND;TZID=America/New_York:20270103T163000
DTSTAMP:20260621T163640
CREATED:20260305T205045Z
LAST-MODIFIED:20260305T205225Z
UID:10007185-1776504600-1798993800@massachusetts250.org
SUMMARY:Dressing the Revolution: Fashion and Politics 1760–1789
DESCRIPTION:The exhibition includes more than 20 garments\, accessories\, textiles\, and prints that illuminate the complex role of clothing at the time of the American Revolution. By posing new questions about fashion’s relationship with class\, race\, and gender\, Dressing the Revolution: Fashion and Politics 1760–1789 places clothing at the center of the political debates\, shedding light on dress as a powerful tool that communicated not just status and identity\, but political affinities during this volatile period. \nThe exhibition begins with a look at the consumer revolution of the mid-18th century when an abundance of highly desirable imported goods\, especially finished cloth and accessories\, became widely available to all levels of society in the Colonies. Fashionable dress connected Colonists with England but also contributed to the construction of personal identities and social status\, while providing the potential for social mobility. \nWhen Britain imposed onerous taxes in the 1760s\, perceptions around wearing fashionable dress began to change. Patriots called for non-importation and nonconsumption of British goods while advocating for more sober\, American-made clothing. Women stepped into new political roles through the many highly publicized spinning bees\, putting action to words in their industry and self sacrifice. While the Homespun Movement remained largely symbolic\, it nevertheless changed the narrative around the public display of clothing. \nFashionable dress remained a topic of heated debate\, and public scrutiny\, when consumption of imported goods resumed after the tariffs were lifted. Clothes\, whether modest or fashionable\, could be read for their political implications. When the Revolution brought closed ports and hardship\, Colonists often made due by maintaining and altering existing clothes and dressing more plainly. The show concludes with a look at dressing in the new Nation and the conflicting urges to balance familiar calls for republican modesty and virtue with a new eagerness for American-produced fashions. \nThis program is made possible by a grant from The Coby Foundation.
URL:https://massachusetts250.org/event/dressing-the-revolution-fashion-and-politics-1760-1789/
LOCATION:Flynt Center of New England Life\, Old Main Street 37\, Deerfield\, Massachusetts\, 01342\, United States
CATEGORIES:Exhibit
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/03/56-29-web-version.jpg
GEO:42.5422936;-72.6066878
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Flynt Center of New England Life Old Main Street 37 Deerfield Massachusetts 01342 United States;X-APPLE-RADIUS=500;X-TITLE=Old Main Street 37:geo:-72.6066878,42.5422936
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260418T093000
DTEND;TZID=America/New_York:20270102T163000
DTSTAMP:20260621T163640
CREATED:20260305T205402Z
LAST-MODIFIED:20260305T205402Z
UID:10007187-1776504600-1798907400@massachusetts250.org
SUMMARY:A Town Divided: Deerfield in the Age of Revolution
DESCRIPTION:This exhibition explores how a rural Massachusetts community responded to the upheaval of the late 1760s through the 1780s. Using objects\, documents\, and personal narratives\, it will present multiple perspectives on how Deerfield residents embraced\, rejected\, or questioned Revolutionary ideals. While many associate the Revolution with Boston or battlefield sites\, A Town Divided brings the promises—and contradictions—of the Revolution to life through the lens of a deeply divided rural town in western Massachusetts. \nAs in other communities\, Deerfield’s citizens struggled to adapt to an everchanging social\, political\, and economic landscape as rebellion and war affected villages far from urban centers and coastal cities. In Deerfield\, which was evenly split between Loyalists and Whigs\, conflicts between neighbors upturned lives and polarized the community. By expanding and interpreting Deerfield’s stories\, the exhibition investigates overlooked aspects of the Revolution\, highlighting a period when Americans faced severe challenges but eventually emerged a new nation. \nObjects\, documents\, and voices from the period allow us to access the urgency and uncertainty of the era. The ideals of equality and liberty engaged not only Loyalists and Whigs\, but also rich and poor\, women and children\, African Americans (both free and enslaved)\, and Indigenous people. \nThis program is made possible by a grant from Mass Humanities\, which provided funding through the Massachusetts Cultural Council.
URL:https://massachusetts250.org/event/a-town-divided-deerfield-in-the-age-of-revolution/
LOCATION:historic deerfield\, 84B Old Main Street\, Deerfield\, Massachusetts\, 01342\, United States
CATEGORIES:Exhibit
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/03/2016-808-2_front-615x740-1.jpg
GEO:42.5438365;-72.6042366
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=historic deerfield 84B Old Main Street Deerfield Massachusetts 01342 United States;X-APPLE-RADIUS=500;X-TITLE=84B Old Main Street:geo:-72.6042366,42.5438365
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260611T100000
DTEND;TZID=America/New_York:20261126T160000
DTSTAMP:20260621T163640
CREATED:20260601T181418Z
LAST-MODIFIED:20260601T181418Z
UID:10011370-1781172000-1795708800@massachusetts250.org
SUMMARY:Lost Liberties - Broken Promises
DESCRIPTION:” Lost Liberties – Broken Promises” a yearlong exhibit focusing on the enslaved\, indigenous\, displaced Loyalists\, and veterans of Weston who were on the wrong side of history.
URL:https://massachusetts250.org/event/lost-liberties-broken-promises/2026-06-11/
LOCATION:Golden Ball Tavern Museum\, Boston Post Road 662\, Weston\, Massachusetts\, 02493\, United States
CATEGORIES:Event,Exhibit
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/06/image1.jpeg
GEO:42.365745;-71.309473
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Golden Ball Tavern Museum Boston Post Road 662 Weston Massachusetts 02493 United States;X-APPLE-RADIUS=500;X-TITLE=Boston Post Road 662:geo:-71.309473,42.365745
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20270531
DTSTAMP:20260621T163640
CREATED:20260618T164154Z
LAST-MODIFIED:20260618T164154Z
UID:10014430-1781740800-1811721599@massachusetts250.org
SUMMARY:In Defense of our Just Rights & Liberties: Amherst in the Revolution
DESCRIPTION:This exhibit gives guests an opportunity to learn how the Revolutionary War played out in Amherst – directly from the voices of the residents who lived through it. Through primary source documents\, the exhibit brings visitors on a journey from the Declaration of Independence in Amherst to the stirrings of revolution and eventual outbreak of war.  \nIn Defense of our Just Rights and Liberties is made possible by support from the Amherst Cultural Council and the Massachusetts Cultural Council.
URL:https://massachusetts250.org/event/in-defense-of-our-just-rights-liberties-amherst-in-the-revolution/
LOCATION:Amherst History Center\, 45 Boltwood Walk\, Amherst\, MA\, 01002\, United States
CATEGORIES:Exhibit
ATTACH;FMTTYPE=image/png:https://massachusetts250.org/wp-content/uploads/2026/06/POSTER-Letter-Size.png
ORGANIZER;CN="Amherst Historical Society":MAILTO:info@amhersthistory.org
GEO:42.3762898;-72.5193967
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Amherst History Center 45 Boltwood Walk Amherst MA 01002 United States;X-APPLE-RADIUS=500;X-TITLE=45 Boltwood Walk:geo:-72.5193967,42.3762898
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260618T100000
DTEND;TZID=America/New_York:20261203T160000
DTSTAMP:20260621T163640
CREATED:20260601T181418Z
LAST-MODIFIED:20260601T181418Z
UID:10011371-1781776800-1796313600@massachusetts250.org
SUMMARY:Lost Liberties - Broken Promises
DESCRIPTION:” Lost Liberties – Broken Promises” a yearlong exhibit focusing on the enslaved\, indigenous\, displaced Loyalists\, and veterans of Weston who were on the wrong side of history.
URL:https://massachusetts250.org/event/lost-liberties-broken-promises/2026-06-18/
LOCATION:Golden Ball Tavern Museum\, Boston Post Road 662\, Weston\, Massachusetts\, 02493\, United States
CATEGORIES:Event,Exhibit
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/06/image1.jpeg
GEO:42.365745;-71.309473
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Golden Ball Tavern Museum Boston Post Road 662 Weston Massachusetts 02493 United States;X-APPLE-RADIUS=500;X-TITLE=Boston Post Road 662:geo:-71.309473,42.365745
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260621T100000
DTEND;TZID=America/New_York:20270704T170000
DTSTAMP:20260621T163640
CREATED:20260601T210551Z
LAST-MODIFIED:20260601T210551Z
UID:10011383-1782036000-1814720400@massachusetts250.org
SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-21/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/06/SC480495-scaled.jpg
GEO:42.339383;-71.0939642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Fine Arts Boston 465 Huntington Ave Boston MA 02115 United States;X-APPLE-RADIUS=500;X-TITLE=465 Huntington Ave:geo:-71.0939642,42.339383
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260622T100000
DTEND;TZID=America/New_York:20270705T170000
DTSTAMP:20260621T163640
CREATED:20260601T210551Z
LAST-MODIFIED:20260601T210551Z
UID:10011384-1782122400-1814806800@massachusetts250.org
SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-22/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/06/SC480495-scaled.jpg
GEO:42.339383;-71.0939642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Fine Arts Boston 465 Huntington Ave Boston MA 02115 United States;X-APPLE-RADIUS=500;X-TITLE=465 Huntington Ave:geo:-71.0939642,42.339383
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260623T100000
DTEND;TZID=America/New_York:20270706T170000
DTSTAMP:20260621T163640
CREATED:20260601T210551Z
LAST-MODIFIED:20260601T210551Z
UID:10011385-1782208800-1814893200@massachusetts250.org
SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-23/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
ATTACH;FMTTYPE=image/jpeg:https://massachusetts250.org/wp-content/uploads/2026/06/SC480495-scaled.jpg
GEO:42.339383;-71.0939642
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Museum of Fine Arts Boston 465 Huntington Ave Boston MA 02115 United States;X-APPLE-RADIUS=500;X-TITLE=465 Huntington Ave:geo:-71.0939642,42.339383
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260624T100000
DTEND;TZID=America/New_York:20270707T170000
DTSTAMP:20260621T163640
CREATED:20260601T210551Z
LAST-MODIFIED:20260601T210551Z
UID:10011386-1782295200-1814979600@massachusetts250.org
SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-24/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:Lost Liberties - Broken Promises
DESCRIPTION:” Lost Liberties – Broken Promises” a yearlong exhibit focusing on the enslaved\, indigenous\, displaced Loyalists\, and veterans of Weston who were on the wrong side of history.
URL:https://massachusetts250.org/event/lost-liberties-broken-promises/2026-06-25/
LOCATION:Golden Ball Tavern Museum\, Boston Post Road 662\, Weston\, Massachusetts\, 02493\, United States
CATEGORIES:Event,Exhibit
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-25/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-26/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-27/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-28/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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DTSTART;TZID=America/New_York:20260629T100000
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-29/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-06-30/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-01/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:Lost Liberties - Broken Promises
DESCRIPTION:” Lost Liberties – Broken Promises” a yearlong exhibit focusing on the enslaved\, indigenous\, displaced Loyalists\, and veterans of Weston who were on the wrong side of history.
URL:https://massachusetts250.org/event/lost-liberties-broken-promises/2026-07-02/
LOCATION:Golden Ball Tavern Museum\, Boston Post Road 662\, Weston\, Massachusetts\, 02493\, United States
CATEGORIES:Event,Exhibit
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-02/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-03/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-04/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-05/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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DTSTART;TZID=America/New_York:20260706T100000
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-06/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-07/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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UID:10011400-1783504800-1816189200@massachusetts250.org
SUMMARY:America at 250 at the MFA
DESCRIPTION:A silver bowl. 17-foot-wide painted room divider. A charismatic silversmith considering his craft. A towering mahogany desk and bookcase. Certain paintings\, sculptures\, decorative arts\, and works on paper from the MFA’s Art of the Americas art collection\, along with the artists who created them\, played a pivotal role in shaping the early history of the United States. Today\, as we approach 250 years since the country’s founding\, they likewise have a unique ability to recount and reflect that history while also inviting us to reconsider it. \nCoinciding with the 250th anniversary of American Independence\, the MFA is reimagining its 18th-century galleries on level one of the Art of the Americas Wing for the first time since they opened in 2010. The new display\, which opens in June 2026\, brings together works from across the Americas—integrating Native and non-native\, North\, South\, and Central American\, and Caribbean art—and explores how artists have contributed to\, or in some cases resisted\, ideas of nationhood and identity. Visitors can immerse themselves in a range of stories and experiences\, discovering the interconnectedness of the Americas and its history\, institutions\, and people. \nGilbert Stuart’s unfinished portrait of George Washington (1796)—the foundational image of the nation’s first president in the public imagination—offers viewers a prescient reminder that democracy is constant work in progress. An early piece of American protest art\, Paul Revere’s Sons of Liberty Bowl (1768) honors a group of Massachusetts rebels who paved the way for the Revolution. A ceramic jar (1857) by the enslaved potter and poet David Drake exemplifies literacy as an act of resistance in the decades before the Civil War. Thomas Sully drew on artistic traditions of heroism for The Passage of the Delaware (1819)\, which portrays George Washington in a dramatic scene of bravery. Meanwhile\, a recently acquired work by Alan Michelson\, a Mohawk member of Six Nations of the Grand River\, offers a contemporary critique of Washington\, who was known to the Mohawk Nation as “Town Destroyer.” These and the many other works on view reveal a past in dialogue with the present and propose endless possibilities for assessing history as we look ahead to the future.
URL:https://massachusetts250.org/event/america-at-250-at-the-mfa/2026-07-08/
LOCATION:Museum of Fine Arts\, Boston\, 465 Huntington Ave\, Boston\, MA\, 02115\, United States
CATEGORIES:Black History,Exhibit,Indigenous History,Women's History
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SUMMARY:Lost Liberties - Broken Promises
DESCRIPTION:” Lost Liberties – Broken Promises” a yearlong exhibit focusing on the enslaved\, indigenous\, displaced Loyalists\, and veterans of Weston who were on the wrong side of history.
URL:https://massachusetts250.org/event/lost-liberties-broken-promises/2026-07-09/
LOCATION:Golden Ball Tavern Museum\, Boston Post Road 662\, Weston\, Massachusetts\, 02493\, United States
CATEGORIES:Event,Exhibit
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