The exhibition “Flourish” by Kehinde Wiley at the Museum van Loon in Amsterdam is complicated by accusations of sexual misconduct against the artist. The museum has chosen to proceed with the exhibition, citing Wiley’s presumption of innocence. However, the ongoing case and the artist’s subject matter, which focuses on giving voice to the historically marginalized, create a complex viewing experience.

The artist’s focus on Surinamese history for “Flourish” is particularly poignant given the Van Loon family’s connection to the Dutch colonial past. Wiley’s portraits of Surinamese individuals, styled after old master paintings, offer a powerful commentary on power dynamics and historical injustice. The exhibition’s setting in the Van Loon family home, a symbol of colonial wealth, further enhances this dialogue.

Wiley’s work has consistently addressed themes of injustice, which now complicates the viewer’s reception. The accusations against Wiley disrupt the appreciation of his art because the viewer is left wondering if the people he portrays are being fairly compensated. The artist’s previous works, including his presidential portrait of Barack Obama, have established him as a significant figure in contemporary art.

The artist and museum had originally planned to avoid discussing the accusations. The news surrounding Wiley has undeniably altered the viewing experience, raising questions about integrity and the potential impact on the art’s intended meaning. It is impossible for the viewer to judge Wiley’s guilt or innocence.