Following its electoral victory in Saxony-Anhalt, the Alternative for Germany (AfD) has proposed conditioning cultural subsidies on a commitment to patriotism. This approach has raised concerns among German museums, theaters, and artists, who fear it may restrict creative freedom. Similar trends have emerged in France, where municipalities led by the National Rally (RN) have also taken actions that reflect this ideological stance. In Saxony-Anhalt, Hans-Thomas Tillschneider, a key figure in the AfD, was elected vice-president of the regional parliament with 44 votes—five more than the number of seats his party holds. For months, he has pushed for a "patriotic clause" requiring cultural institutions receiving public funds to pledge loyalty to German national culture and avoid criticizing it. The AfD secured a strong victory in the regional election on September 6, earning 43.8% of the vote and 39 out of 83 seats. On October 6, Tobias Rausch was elected president of the regional parliament. Although the party does not yet have full control over its cultural agenda, its influence has grown significantly. The regional program includes proposals to tie funding for associations to their adherence to the democratic order and a patriotic orientation. This idea was further reinforced by a motion submitted on June 16, which would require cultural funding recipients to commit in writing to German national culture, respect its traditions, and avoid denigrating it. Serious violations could lead to the refusal, withdrawal, or reimbursement of aid. The Bauhaus, a renowned school of art and architecture that originated in Germany, has come under scrutiny for its internationalist ethos and perceived lack of national roots. In Dessau, a city in Saxony-Anhalt, the foundation that preserves the Bauhaus legacy fears potential political changes. Barbara Steiner, the foundation’s director, described to The Art Newspaper a possible gradual erosion of funding, programming, and international collaborations. The AfD also seeks to eliminate regional subsidies for the German Lost Cultural Property Center in Magdeburg, which investigates the origins of museum collections, including those acquired during colonial times and under Nazi rule. The party criticizes these investigations for fostering national guilt, while the center has responded that such concerns affect both victims and researchers. Cultural sociologist Gisèle Sapiro notes that funding can be a tool of subtle censorship, often justified by other reasons such as program renewal or lack of demand. She argues that authoritarian regimes typically target critical or subversive cultural works that challenge their narrative or aesthetic preferences. Even works that do not directly oppose the government can be problematic if they raise uncomfortable questions. At the Magdeburg theater, Swiss director Julien Chavaz, who leads the regional capital’s theater, emphasizes the importance of diverse programming that includes both German and foreign works. He believes reducing this diversity would alienate part of the audience. However, not every budget decision equates to censorship. Supporting a monument or local tradition does not inherently imply authoritarianism, but the new patriotic requirement changes the nature of funding decisions, making national loyalty a criterion. In France, the RN has already implemented similar practices. In Castres, the new far-right municipal administration removed Passeport, a play by Alexis Michalik about an Eritrean refugee’s journey, from the 2026-2027 season. The mayor, Florian Azéma, defended the decision as a matter of programming choice, though he acknowledged the play’s subject played a role. The performance can be staged elsewhere, but the local audience will miss it in the upcoming season. In La Flèche, the RN-led municipal administration reduced funding for the Carroi association by 50,000 euros, leading to the cancellation of its free summer concerts. This decision was attributed to budget cuts, though no patriotic declaration was required. Sapiro draws parallels between the AfD and RN, noting that both aim to align creators with their nationalist and conservative ideologies. Despite these similarities, the political contexts in Germany and France differ, with Germany’s Basic Law safeguarding artistic freedom. In response to the AfD’s proposals, the Saxony-Anhalt parliament adopted a law reinforcing cultural support principles, while museums, theaters, and foundations have organized against the party’s agenda. The long-term impact of these policies may be difficult to measure, as some projects may be abandoned before even being presented, subtly altering the cultural landscape without explicit prohibition.