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This prologue centers Ojibwe visual artist George Morrison’s wood collage Collage IX: Landscape (1974) to introduce the book’s central methodology: “extraction history.” Weaving together the history of the piece’s creation and reception, the prologue offers a reframing of the history of the form of the Twin Cities during an era of radical political change. At the heart of the prologue is an analysis of Morrison’s particular approach to collage—a practice that defies a conventionally modernist opposition between fragment and totality toward an conceptualization of aggregation with loss. This reading also sets the stage for the book’s overarching theorization of “against” as a critical and generative Indigenous modernist disposition of work that holds open the seeming contradiction of political antagonism with material proximity.

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