How to Tour the Library of Congress

Many trips to Washington, DC make time to visit Capitol Hill. But not all make time for the Library of Congress.

Whether you are planning a quick weekend in Washington or finalizing a packed, weeklong itinerary, there is one stop that should always make your list: the Library of Congress.

As the largest library in the world, it holds more than 170 million items in collection. But walking into its historic Thomas Jefferson Building can be overwhelming. While self-guided brochures are available, booking a Library of Congress guided tour is the absolute best way to experience this National Historic Landmark.

Top 3 reasons to take a guided tour of the Library of Congress:

1. Uncover the Hidden Architecture and Symbolism

At first glance, the Great Hall is a breathtaking explosion of Gilded Age architecture and Italian Renaissance styling. On this tour, you hear the meaning built into the marble. The Jefferson building a has several distinct spaces that we will explore in full, moving from outside to ground level, to the majestic overlook of the reading room.

My favorite places in the Jefferson Building are:

• Minerva Mosaic: Elihu Vedder’s mosaic of the Roman goddess of wisdom guarding the path to the spectacular reading room sets the tone for the institution.

• Main Reading Room: Viewed from a glass-enclosed overlook, the 160 feet tall main reading room is in the running for best interior working space in the city.

• Great Hall: Hidden details in the intricate marble carvings, including sculptures representing various historical occupations and globe-bearers symbolizing the continents.

2. Stand Face-to-Face with History’s Rarest Treasures

The Library of Congress houses priceless artifacts, but navigating the rotating exhibits alone means you might breeze right past world-changing history. As the guide guide knows exactly where to direct your attention. They will share the captivating context behind:

• The Gutenberg Bible: One of the earliest major books printed using movable type.

• Thomas Jefferson’s Personal Library: A stunning, physical recreation of the massive collection of books Jefferson sold to rebuild the library after a devastating tragedy.

• Current Exhibition: The Library’s rotating exhibitions always featuring gems from the collection that illustrate the power and importance of the institution. As if this writing the current exhibition is "The Declaration's Promise: A Revolutionary Idea.”

3. Master Logistics and Avoid Common Mistakes

Planning a trip to Capitol Hill involves moving parts, and professional guides are experts at navigating federal building procedures. Taking a guided tour helps you seamlessly manage:

• Tickets and Timing: Our two hour tour will include time outdoors exploring the Library campus and exterior architecture. Then we’ll queue up to enter the Library and explore the cast interior. Free timed tickets are required to enter the Library — don’t worry, we will handle this part.

• Seamless Connections: As always, we start on time and end on time. Whether your next stop is a U.S. Capitol Building tour (we’ll get you there, underground!) or back to the hotel for rest and relaxation, we will respect your schedule and point you in the right direction for your next adventure.

If you want to move past standard sightseeing and truly connect with American history, let an expert lead the way at the Library of Congress. Tours are in the morning, Tuesday-Saturday. Click here to learn more or Book now!

Exhibition Spotlight - HERE: Pride and Belonging in African Art

Here is an exhibition years in the making. More than 30 visual artists part of the LGBTQ+ community have contributed to this deep and varied show. The two main themes for the exhibitions are identity and belonging. 

What stood out to me the most was how tightly identity was bonded with community in the artwork. Family bonds, work bonds, friendship bonds, national bonds, and bonds with others in the queer community. That association showed through so strongly, it really drove the show for me and made turning the next corner to see what was next compelling. In what new ways can an artist convey a message? 

Inside jokes, shared traditions, a simple social event, the creation of the artwork itself; all these instances are documented in a way that really comes through in the show. The act of creating art of course can help form and sustain community and this is also evident in Here. In this exhibition, even a camcorder video documentation of a small wedding is, in and of itself commentary and art. Here is a window into both the individual artists and the wider queer community across the Africa continent (and diaspora). A truly connective show, considering the vast and differential mediums represented.

About half the countries on the African continent criminalize LGBTQ+ people to some extent. This show also exists in that context. Here also took inspiration from two similar shows from the past “The Progress of Love” a 2012 exhibition in Lagos as well as “Precarious Imaging: Visibility Surrounding African Queerness” a 2014 exhibition in Dakar.

Originally slated to open during World Pride in DC summer 2025, the Here eventually opened in January. The show will close August 23, 2026, which was the original close date. The Smithsonian National Museum of African art is located on the National Mall adjacent to the Smithsonian Castle. 950 Independence Avenue SW.

New Commemoration for Ben's

Ben's Chili Bowl days before their recent grand opening, May 2026. "The Torch" mural was still visible.

Detail of "The Torch" mural at Ben'c Chili Bowl. Artists: Aniekan Udofia with Mia Duval.

For the past seven years I have used the mural on the west wall of Ben's Chili Bowl to weave together multiple narratives that make up the Art & Soul of Black Broadway walking tour. The mural features a plethora of figures important to U Street, Washington, DC, and American history in general. In order from when you entered the alley were Barack and Michelle Obama, Harriet Tubman, Muhammad Ali, Prince, Chuck Brown, Roberta Flack, Donnie Simpson, Russ Parr, Taraji P. Henson, Wale, Eleanor Holmes Norton, Jim Vance, Marion Barry, Dave Chappelle, Dick Gregory, Jesse Jackson, Cathy Hughes, and Bruce Johnson. Shortly after the restaurant reopened this month post-major renovation, the owners announced that the mural would be replaced.

Temporary mural featuring Mystics players and four local legends including Virginia Ali, owner of Ben's Chili Bowl. artist: Katty Huertas.

While calling on the general public to suggest ideas for the new mural, a temporary mural went up over the now defunct one: a collaboration with Washington Mystics basketball team Washington Mystics. In the center of the mural are players Kiki Iriafen, Shakira Austin, and Sonia Citron. Flanking the players are painted portraits of Winnifred Lee, Virginia Ali, Shirley Horn, and Pearl Bailey. Lee and Ali are considered business pioneers on U Street, having opened two of the longstanding Black-owned businesses there, Lee's Flowers and Ben's Chili Bowl. Horn and Bailey are among the top tier of performers who made U Street "Black Broadway" with Pearl Bailey actually being credited with establishing the term Black Broadway. The temporary art is as much an homage to contributors of U Street history and culture as it was an advertisement for the Mystics new alternative jerseys for the 2026 season which began the night of the mural unveiling.

Murals are an ultra-ephemeral part of the built environment. And that's a good thing, ultimately. Visual artists using a medium such as murals can adapt to represent the times in a way architecture isn't always able to. Architecture's semi-permanence also means it tends to end up defining the times more so than offer frequent comment on it. Murals on the other hand rely much less on infrastructure, funds, or expectation of permanence. Even with the force of nostalgia they come and go to such an extent that when a mural does persist into the next era, what remains isn't always as understood as it was on debut. So, many details get lost over time -- the original artist, intent, meaning, colors or materials, elements, and even physical footprint. To me, a 20 year old mural is equivalent to a 200 year old building -- you really do not come across one too often in DC. And since the bureaucracy of making a new building is extensive, while a murals' creation could leave not even a paper trail, there aren't often "records" to refer to when researching DC murals. On the flip side, the era of unmitigated documentation on social media combined with the current popularity of murals as public art has resulted in new avenues to track their origins, meaning, and correct attribution.

Mural that previously existed outside 1344 U Street NW. Artist: @ArtBlocDC.

Before "The Torch" version of the Ben's mural was painted, I used to end the U Street tour at another mural a half-block away. That mural simply included the words "BLACK BROADWAY" in huge block letters with a short quote by DC hip hop artist Head-Roc. After its abrupt removal in 2019, I rewrote the end of the tour to reflect not just the loss of the mural, but also the changing landscape of the neighborhood, including the perception of the neighborhood. When a mural disappears, its relevance to almost everyone that takes a tour drops to near zero. Guests are somewhat interested in art trends ("When did the murals program begin?" "Has non-sanctioned graffiti declined?," etc.) and extremely interested in interpretation of existing murals, but also seem to understand and perhaps appreciate the ephemeral nature of street art. However, they want to experience the neighborhood as it is, even while learning about how it was. As for the new Ben's Chili Bowl mural, there are still some unknowns. It's unclear if Ben's will utilize the DC government's Murals DC program, which would fund the work by paying a muralist or muralists directly. There is no publicly available timeline for the mural's completion. We also of course do not yet know the artist or artists. And the question of questions: who or what will be depicted? Who would you like to see? Stay tuned for updates.

Despite Closures, Celebrations Persist

In April 1866 two regiments of Black troops stood in front of the White House as cannons rang out to welcome President Johnson. The crowd offered up three cheers for the President. President Johnson shook hands with onlookers, stepped up, and gave remarks regarding the celebration at hand: marking the 4th anniversary of the end of slavery in the District of Columbia. After the President’s remarks, a crowd estimated at 10,000 watched a procession of nearly 5,000 Black men march to the U.S. Capitol and back to Franklin Square to hear remarks from the Reverend Henry Highland Garnet. This was one of the first large public celebrations of emancipation in Washington DC.

The Emancipation Proclamation went into effect January 1, 1863 and the 13th Amendment was ratified December 6, 1865. But in Washington, DC, slavery ended on April 16, 1862 with President Lincoln’s signature on the District of Columbia Compensated Emancipation Act. 3,100 enslaved DC residents were made free on that day. At the same time, enslavers were compensated by the federal government for ending the institution. This was the first large-scale emancipation of enslaved people by the federal government. It was an important landmark, establishing that the federal government had the authority to end slavery in territories under its jurisdiction; later leading to the Emancipation Proclamation as well as the 13th Amendment. It also remains the only time enslavers were compensated for the dissolution of slavery in the U.S. 3,100 DC residents were emancipated. And 930 petitions for compensation by enslavers were approved over the next 9 months.

1866 celebration of Emancipation in DC. (Harper’s Weekly)

The large Franklin Park celebration four years later marked the short period of freedom but also called for universal suffrage as well. Full rights and opportunity across the board. Voting, equal protection, free association, religion, speech, equality in public accommodations like housing and schools; the fight for rights continued for more than a century after the Franklin square celebration. 

We still celebrate Emancipation Day here in Washington DC. Emancipation day is an official local holiday in the District of Columbia, typically April 16th. While some government workers have the day off and schools are closed, there are often public celebrations, including a parade and city-sponsored gathering. For decades, that gathering has been held at Freedom Plaza on Pennsylvania Avenue NW. In 2026, the celebration was set to move back to Franklin Park, but not by choice. Freedom Plaza was closed then and is still closed as of today.

Freedom Plaza closed for the time being.

Freedom Plaza is one of an increasing number of public spaces closed as we move into the Spring and Summer seasons in the District of Columbia. Dupont Circle, Malcolm X Park, Freedom Plaza, Lafayette Park, and Logan Circle are all public gathering spaces that have been, are, or will be closed for extended periods of time as a result of an initiative by the name Make the District of Columbia Safe and Beautiful. The initiative came in the form of an executive order in March of 2025. There is an act making its way through Congress that would codify the Executive Order into law and is similarly titled: Make the District of Columbia Safe and Beautiful Act of 2025. After passing in the House, the bill is currently sitting in the Senate. Nevertheless, work continues via the power of the Executive Order issued in 2025.

Among other mandates, the order empowers the Secretary of the Interior to emphasize urban beauty and update maintenance of various public spaces. Many of the public spaces are public commemorations like monuments & memorials, or parks & plazas, especially those with water fountains like Lafayette Park, Malcolm X Park, and Freedom Plaza. The main issue (especially regarding touring) is that when a public space is closed by the task force, little or no notice has been given, and the timelines for work have or will interrupt visitation. Two spaces I utilize on regular tours are closed for the foreseeable future, Lafayette Park and Freedom Plaza. On those tours I use the iPad to show spaces to illustrate elements we would typically visit in person, or reference elements from afar.

As close as one can get to the White House at the moment.

Heavy duty fencing around the White House.

Closing a part of one park for a few weeks would likely go unchallenged, but the closure of multiple open park spaces at the same time, during the busy outdoor and tourist season has drawn some local consternation. Especially in light of other alterations in DC including the erasure of Black Lives Matter Plaza. Lafayette Park, Malcolm X Park, and Freedom Plaza also all have history as places for protest, rallies, and other gatherings for free speech activities. Each of those spaces will have overlapping closure this year including right now. That’s three fewer places to gather, protest, or hold a popular rally.

Flyer for the 2026 DC Emancipation Day program (held on April 19).

The 2026 Emancipation Day program was set to be moved back to Franklin Park. However interest far exceeded what the park could potentially hold. So, the official DC Emancipation Day program was held on April 19, but back at Freedom Plaza, specifically, on the streets adjacent to Freedom Plaza. Read more about the program here, but it was an all day event with a short parade and musical portion with national artists like T.I. and Mya (from DC!) and local go-go bands. The program was free.

What can we do when access to public spaces pause? Keep learning!

• Ever wanted to know which universities offer public history programs?: https://ncph.org/program-guide/

• Are you a museum learner? Find a museum: https://www.aam-us.org/programs/about-museums/find-a-museum/ 

• Celebrate and engage in existing historical spaces and resources around DC history: https://subjectguides.library.american.edu/c.php?g=175019&p=1153864

• Advocate for more, new public histories. One current chance we have is regarding the redesign of Pennsylvania Avenue. Let the National Capital Planning Commission know your thoughts: https://www.ncpc.gov/initiatives/pennave/

• Get involved in public history on a deeper level. Attend the DC History Conference this May. I have been before and it a is a blast!: https://conference.dchistory.org/

• Make your own art or display of public history.

What are other ideas?

Mammoth: Exhibition Spotlight

Nick Cave achieved the double of at once overwhelming me and at the same time, stoking my desire to engage further. In a way, this exhibition lived up to the title. Mammoth likely hits you differently depending on how much you know about Nick Cave's art and life. I went in not knowing more than this exhibition had been recommended to me multiple times by multiple people from different parts of my life, and having read reviews from a few national publications. I might now know him a little more having seen and absorbed this work.

Having this exhibition's main draw (the light table) hosted in a huge open gallery space featuring ethereal lighting, with narrow exits at each end, led me to do what I believe many visitors will; spend a lot of time looking down at the plethora of objects presented on the life-sized light box, perhaps at the expense of the other parts of the exhibition.

To think of the objects on the light box as detritus would mask the value in looking at everyday objects in this way. The exhibition is as much an examination of life at a moment in time as it is a collection of what makes us, us, over the course of an entire lifetime. Or in this case what made Nick Cave, Nick Cave. Toys, tools, textiles, and more -- the light table has it all. The overwhelming part is that there is just too much to observe in a single passing. The desire to engage more is partially fed by the slight chaos. Curiosity gives way to engagement. And questions. Who owned this one? Was that passed down through the family? What is it, exactly?

All the while, the massive mammoth bone structures watch from atop lifeguard-like platforms. Are they judging us for leering? Are they benevolent overseers of the cosmos? Are they watching for mistakes or learning? With consternation or pride?

While the light box is engrossing, the two pieces near the entrance of the exhibition are as powerful. First, a moving image short film of the titular mammoths (people adorned as mammoths) walking/wandering though what appears to be the Chicago landscape.

And in what was the most intriguing and slightly disconcerting piece, Amalgam (Plot). Two prone bodies meet on the floor, faces obscured. How did they get there? How long have they been there? Almost presented as another part of the body, flowers rise up along the edges of the prone figures and from the meeting of the two figures. This reminded me of one of the scenes from a dystopian movie where the survivors walk aimlessly among the ruins of a great catastrophe, occasionally coming across a body in the wild. A dark interpretation -- but the door is seemingly left open for rosier thoughts.

Overall, I was really taken with Mammoth. I was prepared to walk in with an open mind., and even then was surprised by the depth and presentation. Sometimes I have trouble connecting to "found art" style exhibitions. I did not write up the Material Witness exhibition showing at Rubell Museum, but perhaps I will. It was chaotic in a different way than Mammoth, but they both share few thematic links. Until then, Mammoth is worth a view! It has plenty of time to breathe, showing at the Smithsonian American Art Museum January 3, 2027.