ABSTRACT
This chapter proposes a critical assessment of the museum in the light of those transcultural and global migratory movements that challenge the historical and traditional frames of Occidental thought. It offers praxis of change and redemption by revising powers grand narrative and proposing at least two things: that historical moments should be pluralistic micro narratives plotted as confrontations rather than as transition and those confrontations with power are signalled by a functional change in the sign-system. Anonymous Artists bold installation performed a shift in perspective and located the agency of change in the insurgent desire that morphs into political signifiers in the social text of contemporary Bangladesh. Appropriating the theoretical apparatus and contemporary hagiography of Underground chic risks misreading and obliterating the radical alterity and different political space that is magnetised, circularised and polarised by the photographers and curators of Gulmoher Republic.
