The San Francisco Arts Commission says some of the city's statues are rooted in the past and fail to properly acknowledge the people who helped build the city. The reassessment comes after years of political and public pressure that has prompted changes to how the city presents its history.
One example is the Christopher Columbus monument that once stood in front of Coit Tower. Protesters repeatedly covered the statue in red paint, reflecting deep divisions over Columbus' legacy. Some in the nearby Italian community viewed him as a hero, while others saw him as a symbol of colonialism and the exploitation of Indigenous people. In June 2020, the Arts Commission removed the statue early in the morning, away from public view. The city said the monument did not align with San Francisco's values or its commitment to racial justice.
Another controversial piece, titled "Early Days," had already been removed in 2018 after critics said it depicted and glorified the oppression of Native Americans. Installed in 1894, the statue left behind an empty space that remains unfilled.
Across the city, other monuments have raised questions about their relevance.
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A statue of Irish patriot Robert Emmet, installed in Golden Gate Park in 1919, has no direct connection to San Francisco. He was an Irish patriot who had nothing to do with San Francisco. Never came here, never did anything for the city. But a certain mayor at the time, James Phelan decided he was "worthy." It is worth mentioning that Phelan was known as the leader of the anti-Asian movement in California.
Similarly, a statue of Simón Bolívar honors his role in liberating countries in South and Central America, though he had no known ties to San Francisco.
Another example is a statue of Miguel Hidalgo y Costilla, known as the "Father of the Mexican Independence," donated by Mexico in 1962.
The city is now considering whether it should continue accepting such gifted monuments.
"The era of the permanent bronze statue of a single heroic figure is over," the Arts Commission stated.
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Cultural critic Max Blue said the issue raises deeper questions about representation in public spaces.
"Should we be focused on people who really contributed to the well-being and the development of San Francisco? Yeah, absolutely. I think that's a question that you have to ask each community within the city: how they want to see themselves represented. What part of the city's history feels relevant to them?" Blue said.
The Arts Commission has spent the past several years auditing the city's public art collection and determining which stories should be highlighted.
Commissioner Charles Collins said the goal is not to erase history but to provide greater context.
"We don't want to eliminate, we don't want to revise, we want to explain," Collins said.
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Efforts to add context have included plaques, such as one installed when "Early Days" was still standing. It described how Native populations were devastated by disease, malnutrition and armed attacks.
Still, many felt such measures did not go far enough. To better reflect community perspectives, the commission has conducted outreach across the city.
"To ensure that the art that is put there, that is placed there, that we are privileged to bring them, also has a very strong community voice," Collins said.
Newer works aim to address gaps in representation. "Portrait of a Phenomenal Woman" honors poet Maya Angelou, reflecting calls for more recognition of women in public art. Historical figures such as William Leidesdorff, considered a founding father of San Francisco and one of its most influential Black leaders, are also frequently cited as deserving more prominence.
While a bust of Ed Lee, the city's first Chinese American mayor, stands at City Hall, many say the contributions of Chinese Americans to the city's infrastructure and development remain underrecognized.
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Outside the Mission District, there is little acknowledgment of their role in agriculture and labor.
Collins said the city's history offers an opportunity to broaden public understanding.
"San Francisco is the epicenter of a really wonderful set of histories that we now can begin to open up more, explore and bring others in their own way into the dialog as opposed to, we with authority say what it should be," he said.
As the city continues its review, officials say the aim is to encourage engagement and critical thinking about public art, rather than passive acceptance.