Last month, a New York “community board” approved a $750,000 installation by artist Tom Otterness for a public library in lower Manhattan: lion sculptures, paid for by a private donor, in a public space. Now, a cry has gone round the neighborhood to reject the work.

Tom Otterness

You may not recognize his name, but if you’ve spent much time in New York you’ve probably seen Otterness’ cartoonish bronze men and animals. Largely thanks to public art funds–paid for with public revenue–he often places his sculptures near schools, playgrounds, parks and libraries.

His little guys can be seen throughout the 14th St. subway station at Eighth Ave., hiding in nooks and crannies. He has made pieces for Europe and Asia and even designed a float for the Thanksgiving Day Parade. With a seemingly inoffensive cast of characters, Otterness has proven irresistible to art world bureaucrats, who continue to give him commissions.

But now, Otterness is being exposed as a killer. In 1977, he made a film in which he “rescued” a dog from a shelter, tied it up and, as the animal wagged its tail, shot it dead. The movie, which Otterness called “Shot Dog Film,” repeatedly shows the brutal execution.

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Steve DeQuattro, "Sustainable Liberalism In a Box" (2011)

You don’t have to be an art critic to see something tasteless going on at Pratt Institute. Since 1887, this venerable New York institution has been dedicated to educating “artists and creative professionals to be responsible contributors to society.” Yet teachers and administrators at Pratt have been nothing but irresponsible in their recent dealings with a fifth-year drawing student named Steve DeQuattro.

Mr. DeQuattro is a political artist. He uses his background in graphic design to illustrate the dominant political culture of his world. At Pratt, this means creating work that addresses, as he wrote to me, the “growing bureaucracy, higher tuition, new buildings for administration, new offices, and departments, and left-wing bias, all at the expense of the students.”

As part of his recent work, Mr. DeQuattro has designed a cereal-box-like sculpture that he calls, ironically, “Sustainable Liberalism in a Box” (the graphics are pictured above). He has developed a piece that takes the ubiquitous Apple iPod ad campaign to address abortion. He has designed a sobering five-foot-wide mural that tracks the Democratic Party’s record on race, from Jefferson’s slave-holding days up through the racially charged speeches of Senator Robert Byrd and Vice President Joe Biden.

As a senior in the school, Mr. DeQuattro has been working on this art in preparation for a group show for Pratt’s graduating students, which is scheduled to open on April 23. While his faculty advisor has been supporting him, his peers have not. Mr. DeQuattro says they recently wrote a letter to his professors, calling his work “offensive” and complaining about exhibiting alongside him. Last week, the chair of the fine arts department stepped in to prevent Mr. DeQuattro’s participation alongside the other students in the group show–an unprecedented move in the history of the department, says Mr. DeQuattro, despite the fact that none of his work is pornographic, libelous, or in violation of the laws of free speech. Mr. DeQuattro’s advisor did not return a request for comment.

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As we mark the ninth anniversary of the September 11 attacks, the controversy of the Ground Zero Mosque has given rise to a conversation that should have occurred many years ago. Beyond question of the proposed Islamic community center’s proximity to Ground Zero, the debate has also brought to light several unanswered questions about the nature of Islam and its relation to terror: Given the radicalization of mosques and Islamic community centers in Europe, how do we know such meeting houses will not foment such behavior here? If the American Islamic community is immune to radicalization, what differentiates it from such communities in the Netherlands and France? How has the moderate American Muslim community reckoned with attacks carried out in the name of its faith? In sum: To what extent is Islam itself to blame in the extremism of the “Islamist” terrorists?

Following 9/11, a certain dogma of permissible rhetoric took hold that did not allow such questions to be answered or even to be asked. Criticize Islam and you recruit more terrorists. Have faith in moderate Islam and you destroy al-Qaeda. Maximal tolerance from us, it was thought, equals minimal hate from them.

A similar dogma took hold in the plans to rebuild Ground Zero itself. These beliefs quickly played out in the strong-arming of a sacred site by the ideologues of tolerance. Long before the attacks of 9/11, so-called enlightened urbanites bemoaned the outsize scale of the Twin Towers. They resented the superblock of the World Trade plaza for interrupting the street grid. The buildings, to them, were symbols of hubris. They objected to the same monumentality that the terrorists set out to destroy.

When an unelected claque of bureaucrats called the Lower Manhattan Development Corporation nominated itself to redesign the site immediately after the attacks, they sought to undo all of the wrongs of the people who had designed the original towers.

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One of the most talked about lines from the State of the Union came not from Obama but from a comment the MSNBC pundit Chris Matthews made after the President’s address: “He is post-racial by all appearances,” Matthews observed. “You know, I forgot he was black tonight for an hour. You know, he’s gone a long way to become a leader of this country and passed so much history in just a year or two.”

I am prepared to take this comment seriously. No doubt Matthews meant it as a compliment. A cheerleader for the President, Matthews once famously remarked that he “felt this thrill going up my leg” following another Obama speech. But the observation of a “post-racial” President spells trouble for Obama. For one, judging by Matthews’s backtracking, the comment has inadvertently exposed the subject of Obama’s race to be a continuing taboo for any meaningful discussion. Why is it taboo? Because race remains the key issue through which one can unlock and understand the power that brought Obama to office, and Obama’s defenders do not want to give that key away. Harry Reid’s recently reported comments about Obama being a “light-skinned Negro” raised hackles for similar reasons.

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For those who were expecting the election of Barack Obama to yield a peace dividend in the war on terror, the resurgence of Al-Qaeda has come as a surprise. Obama’s obsequious diplomacy was supposed to be a tonic to the aggressions of the Bush years, but his appeasement seems to have only encouraged more war. Rather than calm the Islamic world, Obama’s passivity has invited attack.

As in the Cold War, the current battle of ideology takes place in proxy wars. Unlike in the Cold War, the war on terror is largely fought through symbolic actions. Islamists do not make tactical attacks. They do not bomb Boeing factories or destroy highways and rail lines. Instead they destroy iconic buildings, trains, and airplanes. They use the spectacle of destruction, carried out in a diabolical way by suicide agents, as their means of waging war. That is the definition of a terror campaign.

The proper response to terror is not appeasement but counterattack. Islamists wage their terror campaigns in order to cow American influence abroad, especially in the Gulf. The answer to such attacks, if we hope to avoid them in the future, is to increase American involvement in Muslim countries both through soft influence and force of arms. Such a strategy was one of the best but least articulated justifications for the Second Gulf War.

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It isn’t often that matters of art enter the political news cycle. The Obama administration is determined to change that. Over the holiday week, Andrew Breitbart’s Big Government drew its readers’ attention to the ornamentation on the White House Christmas tree–in particular, an ornament featuring a picture of the Chinese dictator Mao Zedong.

This season’s Christmas decorations, recycled and reappropriated by “community groups” with ornaments from previous White House installations, were the brainchild of Simon Doonan, the Pop Art gadabout tapped by the White House for the occasion. Doonan is most well known for his controversial window displays at the Barneys New York department store, which have included dioramas of Margaret Thatcher in dominatrix wear and Dan Quayle as a ventriloquist’s dummy.

The news of the White House’s holiday hijink reached around the globe. The most interesting commentary came out of the smackdown between the art critic for the Los Angeles Times Christopher Knight and Breitbart. I have had my run-ins with Knight myself. On this occasion, Knight thought he outdid the right-wing commentators by making a distinction between any old portrait of Mao and “Andy Warhol’s ‘Mao ‘”—from which the White House ball derived.

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