Fia Backström’s exhibition at the Queens Museum attempts to capture West Virginia’s struggles, but critics argue it oversimplifies and misrepresents local narratives.

The GRIT collective of artists from economically disadvantaged rural communities in Appalachia claim that Backström’s work is a shallow exploration of suffering, lacking authentic engagement with the region. They assert that the exhibition, while visually striking, paints an overly bleak picture of a complex place rich in pride and resilience.

‘The Great Society’ focuses heavily on environmental disasters and poverty, often at the expense of showcasing the community’s strength and culture. The artwork is devoid of human presence, focusing instead on debris and desolation, which critics say reinforces negative stereotypes about Appalachia without giving locals a voice to counter them.

One of GRIT's main concerns is Backström’s portrayal of local children as dirty and neglected, while she positions herself as clean and modern. This dichotomy, they argue, introduces unnecessary shame into the narrative and fails to acknowledge the complexity of living conditions in Appalachia.

The exhibition’s approach, from its choice of imagery to its wall text, reflects a wider issue: the exploitation of suffering for artistic or cultural capital. While Backström’s intentions may be noble, her methods risk perpetuating harmful narratives rather than fostering genuine understanding and empathy.