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A draft executive order condemns the modernism of an aesthetic elite in favor of popular neoclassicism. The ensuing controversy has obscured not just the diversity of each style, but also the economic forces behind the business of building.
Seeking to discredit those who wish to explain the persistence of racism, critics of the New York Times’s 1619 Project insist the facts don’t support its proslavery reading of the American Revolution. But they obscure a longstanding debate within the field of U.S. history over that very issue—distorting the full case that can be made for it.
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