A Yale-educated Renaissance man, S. Dillon Ripley was a “courtly, determined, hugely ambitious, energetic, funny, and colorful ornithologist, conservationist, and cultural standard-bearer” who led the Smithsonian Institution for twenty years, during its greatest period of growth. During his watch, from 1964 to 1984, the SI added eight new museums and seven new research centers and began publication of the Smithsonian magazine. It was Ripley’s vision that transformed “the nation’s attic” from a dusty archive to a vibrant educational and cultural institution, just as he had transformed Yale’s Peabody museum before it. Prior to his career at the SI, and running parallel with it for the rest of his life, was Ripley’s work as an ornithologist, begun in New Guinea in the 1930s, continued through his PhD from Harvard in 1943, and culminating in his landmark thirty-year project documenting the bird life of India. His lifelong passion for ornithology led him to positions of leadership in worldwide nature conservation. In the midst of these endeavors he was recruited in 1944 to the Office of Strategic Services, a Yalie club at the outset that became the forerunner of the modern CIA. Posted to Ceylon, he recruited and ran agents who reported from and infiltrated Japanese-held Southeast Asia. Roger D. Stone worked with Ripley on the board of the World Wildlife Fund. He has access to the Ripley family’s archives and photos, as well as to the voluminous archives at the Smithsonian and the National Archives, and to over forty hours of transcribed interviews, conducted with Ripley at the Smithsonian.

Since its founding in 1846 "for the increase and diffusion of knowledge," the Smithsonian Institution has been an important feature of the American cultural landscape. In A Living Exhibition, William S. Walker examines the tangled history of cultural exhibition at the Smithsonian from its early years to the chartering of the National Museum of the American Indian in 1989. He tracks the transformation of the institution from its original ideal as a "universal museum" intended to present the totality of human experience to the variegated museum and research complex of today.

Walker pays particular attention to the half century following World War II, when the Smithsonian significantly expanded. Focusing on its exhibitions of cultural history, cultural anthropology, and folk life, he places the Smithsonian within the larger context of Cold War America and the social movements of the 1960s, '70s, and '80s. Organized chronologically, the book uses the lens of the Smithsonian's changing exhibitions to show how institutional decisions become intertwined with broader public debates about pluralism, multiculturalism, and decolonization.

Yet if a trend toward more culturally specific museums and exhibitions characterized the postwar history of the institution, its leaders and curators did not abandon the vision of the universal museum. Instead, Walker shows, even as the Smithsonian evolved into an extensive complex of museums, galleries, and research centers, it continued to negotiate the imperatives of cultural convergence as well as divergence, embodying both a desire to put everything together and a need to take it all apart.