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The epilogue returns to Jimmie Durham’s artistic practice to consider rocks that sprang to life following his relocation to Europe in 1994. A chunk of mineral matter masks the artist’s visage, pebbles dent the front of a refrigerator, rocks scatter across the floor of a museum gift store, and massive boulders ground celebrated symbols of modern mobility and progress, the car and the airplane. Often substrate replaces Durham as sculptor, assuming powers to act, ally, and narrate. As stones accumulate in the wake of the artist’s global travels, they conjure pre- and postcontact cairns that indigenous peoples configured at crossroads in the Americas to protect and orient travelers. Horton argues that Durham’s stones act as wayfinders for displaced humans across centuries and oceans. Indigenous to everywhere, they mark many places to stand.

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