Editing World's Columbian Exposition (section)

=== Later criticisms ===
[[File:Dahomey Village--On The Midway — Official Views Of The World's Columbian Exposition — 110.jpg|thumb|right|Apart from official nation displays, non-white cultures were largely excluded from the main park and were instead found on the Midway.]]

[[Frank Lloyd Wright]] later wrote that "By this overwhelming rise of grandomania I was confirmed in my fear that a native architecture would be set back at least fifty years."<ref>''A Testament'' by Frank Lloyd Wright. Bramhall House. New York. 1957. (p 57)</ref>

According to [[University of Notre Dame]] history professor Gail Bederman, the event symbolized a male-dominated and Eurocentrist society. In her 1995 text ''Manliness and Civilization'', she writes, "The White City, with its vision of future perfection and of the advanced racial power of manly commerce and technology, constructed civilization as an ideal of white male power."<ref name="Manliness and Civilization">{{cite book |last1=Bederman |first1=Gail |title=Manliness and Civilization: A Cultural History of Gender and Race in the United States, 1880–1917 |year=1996 |publisher=University of Chicago Press |location=Chicago |isbn=978-0-226-04139-1 |pages=35–40 |edition=1 |url=https://books.google.com/books?id=KVtKszMHWbcC |access-date=30 July 2020}}</ref> According to Bederman, people of color were barred entirely from participating in the organization of the White City and were instead given access only to the Midway exhibit, "which specialized in spectacles of barbarous races – 'authentic' villages of Samoans, Egyptians, Dahomans, Turks, and other exotic peoples, populated by actual imported 'natives.'"<ref name="Manliness and Civilization" />

Two small exhibits were included in the White City's "Woman's Building" which addressed women of color. One, entitled "Afro-American" was installed in a distant corner of the building.<ref name="Manliness and Civilization" />  The other, called "Woman's Work in Savagery," included baskets, weavings, and African, Polynesian, and Native American arts. Though they were produced by living women of color, the materials were represented as relics from the distant past, embodying "the work of white women's own distant evolutionary foremothers."<ref name="Manliness and Civilization" />