MoMA Faces Criticism for Omitting 'Bed Peace' Film in Yoko Ono Retrospective

New York, NY – The Museum of Modern Art (MoMA) is facing significant criticism for its curatorial decisions regarding the "Bed Peace" film within its "Yoko Ono: One Woman Show" retrospective. Critics argue that the alleged omission or downplaying of this pivotal work sanitizes the radical artistic and political message of John Lennon and Yoko Ono. The controversy highlights ongoing debates about historical representation in major art institutions.

Claire Lehmann, a prominent commentator, articulated this sentiment on social media, stating, > "whether it was successful or not, Lennon & Ono’s song [film] was a vital part of the artistic statement they were trying to make. To quietly remove it from a retrospective of this period erases a part of their history. It softens their characters too." Her tweet underscores concerns that the exhibition misrepresents the artists' challenging and often provocative collaborative output.

"Bed Peace" is a significant documentary film that captures John Lennon and Yoko Ono's 1969 "Bed-Ins for Peace" protests in Amsterdam and Montreal. These events were groundbreaking acts of performance art and anti-war activism, where the couple invited the world's press into their hotel room to advocate for global peace. The film is widely considered a cornerstone of their collaborative artistic and political legacy.

A spokesperson for MoMA addressed the concerns, stating that while "Bed Peace" is not featured as a standalone film within the "Yoko Ono: One Woman Show" exhibition, elements of the "Bed-In" activism are represented through photographs and archival materials. The museum aims to focus on Ono's individual artistic contributions and multidisciplinary practice, extending beyond her well-known collaborations with John Lennon.

The debate surrounding the exhibition reflects broader discussions within the art world about how museums present historical figures and their potentially controversial works. Critics argue that omitting or de-emphasizing key pieces risks sanitizing the artists' true intent and impact, potentially rewriting their narrative for contemporary audiences. The incident underscores the delicate balance institutions must strike between comprehensive historical representation and thematic curatorial choices.