ABSTRACT
This chapter describes an encounter with the featured artist and their disputable relationship with indigenous American peoples. The artist is appreciated for the deployment of spoof museology that draws attention to the dubious staging of all history in museum settings. A useful and unexpected connection is made with a classic novella in which there is a critical description of school trips made to a mid-20th century American museum. The chapter concludes by relating a series of later career works by the artist which seem to symbolise the superior force and sense of inexorable change in nature over man-made ephemera.
