failing to put facts in "comparative perspective" a deficiency that "misleads curators into making sweeping claims like the assertion in the introductory room that before 1400 "slavery was a temporary status," nevertheless concluded that "Taken as a whole, however, the NMAAHC shows that it is possible to do an identity museum well, to build a museum on a foundation of rigorous scholarship that can inform, excite, and even inspire." The lack of material on Justice Clarence Thomas drew criticism and prompted the introduction of a resolution by six GOP senators which argued that Thomas should have a "prominent place" in the museum. Los Angeles Times architecture critic Christopher Hawthorne wrote that the museum is the "most impressive and ambitious public building to go up in Washington in a generation" and that despite "some flaws and unfortunate signs of cost-cutting, the design succeeds almost precisely to the degree that it is enigmatic and even fickle, spanning huge gulfs in the national character without being naive enough to try to close them. The building embraces memory and aspiration, protest and reconciliation, pride and shame." In The Plain Dealer, Susan Glaser wrote that the museum "is really two museums in one: Its historical exhibits encompasses about 60 percent of the gallery space, while cultural exhibits take up the other 40 percent." She wrote that the museum is "filled with difficult truths", such as a "statue of Thomas Jefferson, author of the words 'All Men Are Created Equal,' who is depicted in front of a brick wall – and on every brick, the name of one of his 609 slaves, including at least six who were his own children." But she wrote that "[i]t was the coffin of Emmett Till that finally got to me." She describes 14-year-old Till, who was lynched for allegedly whistling at a white woman: "Though his body was severely disfigured, his mother insisted on an open casket at his funeral, hoping to show the world the effects of racial injustice. It helped ignite the civil rights movement." Because of its lengthy name and the unpronounceable acronym NMAAHC derived from it, a few journalists, following the trend established on social media, used the nickname "the Blacksonian" for the museum, based on its content and its relationship to the Smithsonian. The Washington Post architectural critic Philip Kennicott assessed the museum as its one-year anniversary, concluding that the NMAAHC has "changed the