The U.S. General Services Administration is currently contemplating the sale of the Wilbur J. Cohen Federal Building in Washington, DC, which was constructed in 1939.
At first glance, this might seem like just another routine government task, but it goes way beyond that. Selling this building could jeopardize one of the last significant monuments from the New Deal era, which holds immense value, especially considering its public artworks that belong to all citizens.
The Cohen Building originally served as the headquarters for the Social Security Administration. It stands as a reminder of a time when the federal government appreciated that democracy flourished not just through policies, but also through a sense of shared beauty and public intent.
Its limestone façade showcases a blend of Stripped Classic, Art Moderne, and Egyptian Revival styles, setting it apart from other federal structures. Inside, it features frescos by notable artists like Ben Shahn, Philip Guston, and Seymour Fogel.
These murals, painted directly onto fragile plaster, reflect the spirit of the 1930s—focusing on the dignity of labor, hopes for change, and a belief in public art’s ability to elevate a nation.
Because the murals are integral to the building, removing them would likely mean destroying them. If a private entity acquires the property, there’s no guarantee against demolition or alteration, risking the loss of pivotal art and architecture, similar to what was seen with the East Wing of the White House.
This situation is part of a broader trend where historic public spaces are being quietly wiped away due to the sale and privatization of important federal lands. The stakes aren’t just about one structure; it touches on the core idea that public heritage should not be up for sale.
Recently, the country witnessed the unexpected demolition of structures like the White House, which showcases how hurried processes can disregard established norms. This indicates that if such loss can happen in a symbolically significant place, it could occur anywhere.
The Cohen Building was included in the National Register of Historic Places in 2007 for both its architectural significance and its connection to the implementation of social security laws. It’s literally at the heart of Social Security, the program that remains crucial to America’s social safety net.
Despite its historical significance, the General Services Administration suggests the building will be put up for sale soon.
Once sold, it will enter federal inventory, under public management but without the conservation protections guaranteed by laws like the National Historic Preservation Act, unless specific agreements are made to ensure those protections endure.
This is why federal law considers such sales potentially harmful to historic properties, demanding thorough evaluation and consultation before moving forward with sales, demolitions, or significant renovations.
The General Services Administration must engage with the public, including preservation authorities, local officials, and interested groups, such as the Living New Deal Project, which we represent.
There’s certainly more favorable options than divesting cultural assets. A recent study indicated that modernizing the Cohen Building could transform it into an energy-efficient hub for federal workers.
Other possibilities being explored include converting it into an expanded legislative office or even a new Smithsonian museum. Each of these alternatives would maintain the building’s purpose while preserving its artistic heritage for future generations.
The federal government once recognized the symbolic importance of public structures. During the New Deal, both artists and architects were brought in to inspire and remind us that the government could create enduring beauty and significance. In today’s climate of political disillusionment, that message feels increasingly urgent.
We can’t afford to treat our collective heritage as mere disposable real estate. The Cohen Building isn’t just a historical artifact; it represents a time when public works and social welfare were seen as interconnected, a period when America believed in investing in itself.
Letting this building and its artwork fall into private hands could send a troubling message about our current values. The murals by Shahn, Guston, and Fogel were meant for everyone, not for private collectors or developers. Safeguarding them means protecting an essential part of our democratic spirit.
The public deserves a voice in determining the fate of this piece of history before it’s lost behind closed doors or demolished without any recourse. The Cohen Building belongs to all of us. Let’s ensure it remains that way.
