The Mütter Museum, located at the College of Physicians of Philadelphia, is a unique 19th-century medical collection that attracts approximately 160,000 visitors annually. With a wide array of anatomical and pathological specimens on display, including skulls damaged by syphilis, rickets-induced twisted spines, corset-deformed skeletons, microcephalic fetuses, a two-headed baby, a bound foot from China, an ovarian cyst the size of a Jack Russell terrier, Grover Cleveland’s jaw tumor, the liver of the original “Siamese twins” Cheng and Eng Bunker, and the preserved body of the Soap Lady whose fatty tissues decomposed into a congealed asphalt-colored substance called adipocere, the museum piques the interest of individuals fascinated by the unusual and extraordinary.
Dean Richardson, a professor of equine surgery at the University of Pennsylvania School of Veterinary Medicine’s New Bolton Center, explains that people are inherently drawn to the unusual, curious to understand the reasons behind biological peculiarities and mishaps. Biology is a marvel that becomes better comprehended when acknowledging its inherent complexities and inevitable “errors.”
The Mütter Museum has been praised for its electrifying frankness by Philadelphia-born celebrity magician Teller. It provides a platform for individuals to confront real artifacts of human suffering and genuinely appreciate the remarkable achievements of medicine.
However, like many museums, the Mütter is now reevaluating its content and purpose. It recently sought the assistance of a public relations consultant specializing in crisis management to address both internal and external criticism. The controversy began in February when fans noticed that nearly all of the museum’s 450 images and videos were removed from its website and YouTube channel. Rumors quickly spread, prompting Kate Quinn, the museum’s executive director, to post an explanation three months later. She stated that the clips, which had garnered over 13 million views, were being reevaluated for the purpose of enhancing the visitor experience. A diverse group of 13 individuals, including medical historians, bioethicists, disability advocates, and members of the community, were enlisted to provide feedback on the digital collection. This “post-mortem” process aimed to ensure that the online presentation of the museum was appropriate and that the 6,500 human remains specimens exhibited were treated with respect.
Kate Quinn’s ethical review faced intense backlash from devoted museum supporters. An online petition, signed by approximately 33,000 Mütter enthusiasts, demanded the restoration of all web content and called for the immediate dismissal of Quinn and her boss, Dr. Mira Irons. The petition accused them of holding outright disdain for the museum. Approximately one-quarter of the videos have since been reinstated.
In addition to the public outcry, an opinion piece titled “Cancel Culture Comes for Philly’s Weirdest Museum” was published in The Wall Street Journal in June. The article, written by Stanley Goldfarb, a former director of the college, accused the museum’s new “woke leaders” of attempting to eliminate anything uncomfortable. Robert Hicks, the former director of the Mütter Museum, also shared similar sentiments; however, he resigned from his position as a museum consultant. Hicks released a resignation letter to the press, which claimed that Dr. Irons had expressed her dislike for the museum and advised the trustees to investigate Irons and Quinn, alleging their “elitist and exclusionary” views. Neither Goldfarb nor Hicks made any attempt to discuss their concerns directly with Quinn or Irons.
Amidst the criticism and rumors, 13 employees left the museum, and panic spread on social media. Speculations were made that Irons intended to convert the Mütter into a research museum inaccessible to the public, that Quinn was quietly removing exhibits featuring malformed fetuses, and that the management aimed to discourage “freaky Goths” while undermining the museum’s mission of helping the public understand the human body’s mysteries, beauty, and the history of disease diagnosis and treatment.
Dr. Irons vehemently denies these rumors, stating that her only intention is to ensure that the museum’s displays meet professional standards and fulfill the college’s and museum’s mission. According to Irons, much of the controversy arises from resistance to any changes and an unwillingness to engage in constructive discussion.
The Mütter Museum was founded in 1859 by Thomas Dent Mütter, a surgery professor, as an educational tool for future doctors. Dr. Mütter, known for being the first Philadelphia surgeon to use ether anesthesia, endowed the museum with $30,000 and a collection of 1,700 anatomical oddities and medical curiosities used in his teachings. The collection has since grown through donations and acquisitions, including some obtained through unethical means, such as bribing grave diggers. Back in the time when medical consent was not codified, medical schools often obtained unclaimed corpses of inmates, paupers, suicide victims, and Native Americans as cadavers for dissection and anatomy lessons.
The Mütter Museum opened to the public in 1863, initially catering only to medical practitioners. By the 1970s, it began attracting 5,000 annual visitors. According to Dr. Richardson, many individuals develop their initial interest in the human body due to its weird, edgy, or intriguing aspects, which leads to a pursuit of deeper knowledge.
In 1986, Gretchen Worden, the museum’s curator at the time, transformed the Mütter into a Victorian-era cabinet of curiosities with red carpets and velvet drapes, showcasing unsettling reminders of mortality. Her unconventional style and promotional activities, such as a museum calendar featuring peculiar exhibits and appearances on “Late Night With David Letterman,” contributed to increased attendance and revenue. Approximately one-third of the college’s income now comes from the Mütter Museum’s admissions, store, and library services.
However, museums that exhibit human remains face greater scrutiny and public demand for accountability. The term “mummy” has been discarded by some museums when referring to preserved corpses from ancient Egypt due to concerns of dehumanization. Curators have also faced questions from visitors regarding the authenticity of displayed mummified individuals.
Dr. Irons acknowledges that what was considered respectful in the past may not hold true today. She emphasizes the importance of visitors viewing damaged body parts with empathy for the individuals they once belonged to. Dr. Irons, a practicing physician specializing in rare genetic diseases in children, admits that certain exhibits, particularly those featuring fetal specimens as medical novelties, can be challenging for her. She believes that such displays should provide a more comprehensive understanding of the individual, the specific condition, and the advancements in therapy that affect individuals today.
With Kate Quinn, the former director of exhibitions and public programs at the Penn Museum, now leading the Mütter Museum, the focus is on restoring the museum’s mission by moving away from any perception of spectacle, oddities, or disrespect. Upon joining the museum, Quinn discovered the absence of an ethics policy, particularly concerning human remains. She aims to address this issue and ensure that the museum’s collections are treated with care and integrity.