On October 29, 2025, the White House made a dramatic move that sent ripples through the architectural and political communities of Washington, D.C.: all six members of the U.S. Commission of Fine Arts, the independent federal agency responsible for reviewing the design of federal buildings, monuments, memorials, and coins, were abruptly fired. The firings, confirmed by multiple sources including NPR, Reuters, and The Washington Post, were effective immediately and left the commission’s chair position, previously held by Billie Tsien, vacant.
This sweeping action, which came via official letters and emails, was no mere administrative reshuffle. The commission, established by Congress in 1910, has played a crucial role in shaping the capital’s most iconic spaces, from Arlington National Cemetery to Maya Lin’s Vietnam Veterans Memorial. The six ousted commissioners—Bruce Redman Becker, Peter D. Cook, Lisa E. Delplace, William J. Lenihan, Justin Garrett Moore, and vice chair Hazel Ruth Edwards—had all been appointed by former President Joe Biden, according to Reuters.
“On behalf of President Donald J. Trump, I am writing to inform you that your position as a member of the Commission of Fine Arts is terminated, effective immediately,” read a letter from the presidential personnel office, as reported by The Washington Post. William J. Lenihan, one of the commissioners, confirmed in an email to NPR that the terminations took effect at once. The White House, in communications to both NPR and Reuters, said it was “preparing to appoint a new slate of members to the commission that are more aligned with President Trump’s America First Policies.”
The timing of the firings could hardly be more significant. Just a week earlier, on October 21, 2025, construction crews began demolishing the East Wing of the White House to make way for President Trump’s proposed ballroom—a project that is expected to cost upwards of $250 million, marking the first major alteration to the historic property in decades. Photographs captured by Reuters showed the East Wing’s facade being dismantled, a sight that dismayed critics who argued that such a drastic change should have undergone thorough review by the very commission that was just disbanded.
The Commission of Fine Arts, composed of architects, artists, and urban planners, was established more than a century ago to provide expert advice on the aesthetics and design of federal projects in the nation’s capital. Its purview has traditionally included everything from the layout of national memorials to the design of coins. According to NPR, the commission would have been responsible for reviewing not only the new White House ballroom but also President Trump’s ambitious plan for a monument modeled after the Arc de Triomphe in Paris, intended to celebrate the 250th anniversary of the Declaration of Independence.
Yet, as architect Bruce Redman Becker, one of the fired commissioners, told NPR, “Neither project has been submitted for review yet.” The White House also confirmed to Reuters that plans for the ballroom addition had not yet been submitted to the National Capital Planning Commission, another oversight body, though they were expected soon.
The abrupt firings raised a host of questions about oversight, transparency, and the politicization of federal design. Critics, including several Democratic senators, voiced concerns about the process and the funding behind the massive construction project. Senator Adam Schiff, for instance, sent a letter to White House Chief of Staff Susie Wiles requesting a “complete accounting” of how the administration is financing the ballroom. Schiff’s letter, cited by The Washington Post, warned, “The opaque nature of this scheme reinforces concern that President Trump is again selling presidential access to individuals or entities, including foreign nationals and corporate actors, with vested interests in federal action.”
President Trump, a former real estate developer with a well-known penchant for grandiose projects, has insisted that the ballroom will be funded by himself and private donors. However, the lack of clarity on the funding sources and the speed with which the project has advanced—demolition began before any formal review—has only fueled suspicion and debate.
This is not the first time the composition of the Commission of Fine Arts has been upended by a change in presidential administration. In 2021, President Biden dismissed four commissioners appointed by Trump, including Justin Shubow, a vocal proponent of traditional and classical architecture. Shubow’s tenure had been marked by a push for more classical design in federal projects, a stance echoed by Trump’s own architectural preferences. The current round of firings, however, is notable for its totality—all six Biden appointees removed in one fell swoop—and its proximity to high-profile construction plans closely tied to the president’s personal vision.
The White House has yet to announce who will fill the now-vacant commission seats. During Trump’s first term, the commission was led by figures such as Justin Shubow and James McCrery, both known for their advocacy of traditional design. The administration has made clear that the new appointees will be chosen for their alignment with “America First” policies, signaling a likely return to classical and monumental aesthetics.
The speed and scope of the changes have left many in the architectural community unsettled. The commission’s role as an independent, nonpartisan advisor on design has long been seen as a safeguard against politicization and hasty alterations to the nation’s most treasured landmarks. The demolition of the East Wing—without the commission’s input—has only heightened concerns about the future of federal design oversight.
Meanwhile, the National Capital Planning Commission, a separate body that oversees federal construction in Washington, awaits submission of the ballroom plans for its own review. Until then, the fate of the new ballroom and the proposed triumphal monument remains uncertain, as does the future direction of the Commission of Fine Arts itself.
As the dust settles—quite literally—on the East Wing demolition, Washington and the nation watch closely to see who will be appointed to this influential commission and how their decisions may shape the capital’s landscape for generations to come.
