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Installation art by African American artists Renée Green and Fred Wilson, addressing the institutional authority by which museums stage representations of the past, is examined in this chapter, which accompanied a 1992 exhibition of the archival turn in contemporary art. Engaging closely with Michel Foucault’s concept of genealogy as an alternative to heroic and monumental modes of historiography, the chapter describes a paradigm shift away from earlier efforts to recover black history, which were confident that representation could make present what had been left out as absent, toward a new approach in which the aim is to interrupt museological codes...

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