The recent debate and debacle at the State Capitol over "controversial art" ended with such statements as "some people are uncomfortable" when viewing some of the art, therefore justifying the removal of four pieces from the governor's reception room and adjacent spaces. This includes two pieces related to the 1862 U.S.-Dakota War, during which more than 600 white settlers were killed in southern Minnesota, the most devastating attack on U.S. noncombatants before 9-11.

Here in Bloomington, we've been recognizing "The War Within The Civil War" since we erected the first Civil War monument in the state in 1892 — honoring Bloomington soldiers who fought in both wars. This monument, located in the 1856 Bloomington Cemetery is one of the reasons the cemetery is on the National Register of Historic Places.

The painting of the 1851 Traverse de Sioux treaty signing, based on a drawing by artist Frank Blackwell Meyer, is considered a source of discomfort by some who view it, as it portrays the division of the Dakota people into two factions — the farmer Indians and those who wished to continue the old ways, 11 years later going to war.

If this is considered offensive, then the works of Meyer found in "With Pen and Pencil on the Frontier in 1851," a publication of the Minnesota Historical Society, also need to be de-emphasized.

The painting of Father Hennepin naming the falls of Saint Anthony symbolizes the role religion played in the exploration of Indian country and the subsequent change to agricultural lands and permanent cities. Various denominations, including the Catholic church, followed by the Presbyterian church, had a presence in Bloomington from 1843 to the 1890s, through the efforts of missionary-farmers Gideon and Samuel Pond as well as farmer Indians who stayed in the Minnesota River Valley after the war of 1862, maintaining ties with the Presbyterian, Episcopal and Catholic communities. This painting can lead into broad storytelling about religion's role in Minnesota.

The 1856 Gideon and Agnes Pond House in Bloomington, listed on the National Register of Historic Places, is used for living history interpretation under the theme of "The Meeting of Two Great Cultures." Historic paintings, like historic properties and exhibits, always benefit from ongoing research as a way to provide contextual interpretation from generation to generation. The four removed paintings deserve nothing less in determining their future, which was not in doubt at the beginning of the Capitol restoration project.

As a proud former employee of the Minnesota Historical Society in the 1990s, in the historic sites division and state office of historic preservation, I have been disturbed by the process used by the Capitol Arts subcommittee to raise questions about art in the Capitol. It seemed to have a predetermined outcome for discussion groups around the state.

All this has implications for local history organizations around the state, who seek authenticity and thoughtfulness in their preservation and storytelling efforts, particularly relating to properties on the National Register of Historic Places, such as the Minnesota State Capitol. These organizations look to the Minnesota Historical Society to set the example that history is more than trivia or digital opinion pools, but, as the Minnesota Historical Society says, history matters. It matters even more in connecting people to their heritage. It bonds.

This process seems to have little connection to the centennial celebration of the capitol in 2005, as described in the publication "Minnesota's Capitol: A Centennial Story" by Leigh Roethke, which portrayed discussion of the Capitol art and the artists selected by the Capitol architect, implying that the art was a strength of the Capitol experience. What has happened between 2005 and 2016 to suggest otherwise?

This is playing out in a golden era for history-telling in Minnesota, due to grants awarded through the Legacy Amendment, which have spurred research, publications and preservation efforts. It is not too late to rethink the Capitol restoration efforts relating to the existing artwork which has roots in the early 20th century creation of a magnificent Capitol building dedicated to the memory of the Civil War period.

This is not a redecorating effort.

Larry Granger is president of the Bloomington Historical Society.