The John F. Kennedy Center for the Performing Arts has long stood as a nonpartisan monument to American culture—a place where orchestras, playwrights, dancers, and audiences from across the political spectrum could gather under one roof. But according to a growing Senate investigation, that roof may now shelter something far less noble.

At the center of the controversy is Donald Trump’s takeover of the Kennedy Center, a move critics describe as an unprecedented fusion of political branding, crony capitalism, and cultural warfare. What began as a quiet reshuffling of board members has escalated into allegations of corruption, financial mismanagement, and the misuse of a publicly chartered institution for private and political gain.

Senator Sheldon Whitehouse, a Democrat from Rhode Island and an ex officio member of the Kennedy Center board, says the strategy was familiar from the start.

“You float outrageous ideas until people become numb,” he said, reflecting on early rumors that Trump intended to attach his own name to the Kennedy Center. Within hours of that interview, the prediction became reality: the board announced a unanimous vote to rename the building the Donald J. Trump and John F. Kennedy Memorial Center for the Performing Arts.

Construction crews moved swiftly. Metal letters were installed. A blue tarp fell. And suddenly, Trump’s name loomed over a building dedicated to a president assassinated in 1963. Kennedy family members called the move “beyond wild,” noting that federal law requires congressional approval for such a change.

The renaming followed a decisive power shift earlier in the year. Trump removed Biden-appointed board members, installed himself as chairman, and named Richard Grenell, a longtime ally, as Kennedy Center president. Critics say the move represents a textbook case of institutional capture, where a public entity is repurposed to serve political interests.

By November, Whitehouse—now leading a Senate Environment and Public Works Committee inquiry—had obtained documents suggesting the Kennedy Center was being run less like a cultural trust and more like a private club for Trump loyalists.

“It looked like the moment the brigands took the ship,” Whitehouse said, “their first instinct was to loot it.”

One of the most striking examples involves FIFA, world football’s governing body. Under a contract approved by Grenell, FIFA received exclusive access to the entire Kennedy Center campus for nearly three weeks surrounding a World Cup draw event.

According to Senate estimates, the arrangement cost the Kennedy Center more than $5 million in lost revenue, factoring in displaced performances, staffing, food service, and logistics. Multiple shows were canceled or rescheduled.

Grenell disputes the figure, claiming FIFA contributed “multimillions” instead of paying a rental fee. However, investigators say no documentation has been produced to support that claim—raising further questions about transparency and accountability.

The FIFA deal wasn’t isolated. Contract records show steep rental discounts for conservative organizations, including NewsNation and the American Conservative Union Foundation. Internal notes explicitly reference “waived costs” approved by the Office of the President.

Whitehouse argues this amounts to preferential treatment, using a publicly supported cultural institution to financially benefit politically aligned groups. “Those benefits,” he said, “flowed in one direction—and one direction only.”

The investigation also highlights lucrative consulting contracts awarded to individuals with personal or political ties to Grenell. One former diplomatic colleague received $15,000 per month under a contract lacking clear deliverables. Another contract went to Jeff Halperin, husband of Trump ally Kari Lake, for social media services exceeding $10,000 per month.

Meanwhile, spending records show tens of thousands of dollars charged to the Kennedy Center for luxury stays at the Watergate Hotel, private dining, champagne service, and alcohol—expenses investigators say bear little resemblance to normal arts administration costs.

“These weren’t performers or honorees,” Whitehouse noted. “This was staff and associates living large on public goods.”

Financial concerns are mounting. Senate documents indicate the Kennedy Center is operating over budget while ticket sales decline. Whitehouse attributes the slump to programming that appeals to a narrower, ideologically driven audience and to prominent artists quietly withdrawing.

He likened the transformation to “the Vandals in Rome,” arguing that the reputational damage alone could take years to undo.

Grenell maintains that previous leadership left the Center in disrepair and financial turmoil, but Whitehouse says those claims remain unsupported by evidence.

To Whitehouse, the Kennedy Center saga is not just about arts governance—it’s a warning sign. The Trump administration has floated plans for ideological monuments, content reviews at Smithsonian museums, and expanded federal control over cultural narratives.

“This is about narrative power,” Whitehouse said. “Cultural institutions tell a country’s story. Control the institutions, and you control the story.”

As the Senate investigation continues, the future of the Kennedy Center remains uncertain. What is clear is that America’s cultural landmarks are no longer neutral ground—and the battle over who owns them has only just begun.