In the moments when I feel like I do not belong or that we are not doing enough to decolonize inherently colonial institutions such as museums and universities, I try to pause and think not only about the absurdity and seeming infeasibility of the project we have set for ourselves, but also these moments when the intangibility of our research materializes in practice.
Centering on T.C. Cannon as narrator of the exhibition, and decentralizing my curatorial voice as the authority, was an intentional strategy I employed to activate Cannon’s Native perspective and to build empathy with the audience.
Can an institution not only virtually reconnect the objects with their communities, but also create reciprocal relationships that will benefit the objects and the communities (both Indigenous and museum audiences alike)
How might technology restore the connections between the tangible and the intangible that text-based art-historical practices and their often singular focus on the visual have damaged or elided?
Boarding a train toward an affluent suburb northeast of Madrid, I wondered what this journey would bring. I had been contacted a little over a year earlier by a person who claimed to have two paintings by Mary Cassatt (1844–1926).
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