Pub Date : 2024-09-01Epub Date: 2024-08-28DOI: 10.1177/13591835241275867
Julia Sonnleitner
The social life of things, in the aftermath of war and forced displacement, is associated with change in significance and value. Against a background of massive destruction and dispossession, object survival is exceptional. However, not every object that survives gains value equally. Private possessions that survive might not be attended to or be discarded. This complicates a straightforward coupling of person and surviving object. In this paper, the becoming of biographic objects is addressed. My interview partners fled the war in Yugoslavia in the 1990s as children. The objects they presented in biographic interviews have accompanied them throughout their lives. Rather than being mere prompts to tell life stories, these biographic objects, I suggest with Barad's study, emerged in tandem with the biographic subject. By example of a wartime letter and a childhood object, I demonstrate how these things become biographic objects as they afford social action at various points in people's lives. My main argument is that things come to be biographic objects because they afford agency in specific socio-historic constellations.
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Pub Date : 2024-01-09DOI: 10.1177/13591835231225350
Amy Clarke
The highly visible yet poorly studied phenomenon of roadside colossi—oversized commercial buildings and statues in the shape of everyday objects, referred to in this article as Big Things—has often been dismissed as a kitschy by-product of American post-war consumerism and car culture. There are no universal definitions or typologies for this form of material culture, nor is there a sufficiently global history that explains the origin, spread and contemporary popularity of these landmarks. In this article, I address these gaps in the discourse, drawing attention to the rich yet largely untapped theoretical underpinnings of Big Things. In doing so, I highlight the potential for further study of these landmarks as material evidence of broader socio-cultural impulses, particularly in communities across North America and Australia, where Big Things can be found in their greatest numbers.
{"title":"The commercial and regional imagery of big things: Establishing a foundation for the study of oversized roadside landmarks","authors":"Amy Clarke","doi":"10.1177/13591835231225350","DOIUrl":"https://doi.org/10.1177/13591835231225350","url":null,"abstract":"The highly visible yet poorly studied phenomenon of roadside colossi—oversized commercial buildings and statues in the shape of everyday objects, referred to in this article as Big Things—has often been dismissed as a kitschy by-product of American post-war consumerism and car culture. There are no universal definitions or typologies for this form of material culture, nor is there a sufficiently global history that explains the origin, spread and contemporary popularity of these landmarks. In this article, I address these gaps in the discourse, drawing attention to the rich yet largely untapped theoretical underpinnings of Big Things. In doing so, I highlight the potential for further study of these landmarks as material evidence of broader socio-cultural impulses, particularly in communities across North America and Australia, where Big Things can be found in their greatest numbers.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"2 3","pages":""},"PeriodicalIF":0.9,"publicationDate":"2024-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139443651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present proposed volume takes as its fulcrum the concept of gender, and in its most simple iteration asks: What happens when, we – that is, the varied individuals and communities who take a vested interest in the collections housed by ethnographic museums – think more deliberately from the objects in our museums? How might we theorize gender in ways that allow us to think our relationships to each other in Povinelli's (2011) ‘otherwise’ ways? Ultimately this volume brings together cutting-edge thinking in gender studies, material culture, and museum practice, centering the lens on the ethnographic as a critical category of analysis that continues to regiment how we organize the very collections in our museums.
{"title":"Rethinking gender from the ethnographic museum. Introduction to the special issue","authors":"Josep Almudéver Chanzà, Alessandra Benedicty-Kokken, Fanny Wonu Veys","doi":"10.1177/13591835231210664","DOIUrl":"https://doi.org/10.1177/13591835231210664","url":null,"abstract":"The present proposed volume takes as its fulcrum the concept of gender, and in its most simple iteration asks: What happens when, we – that is, the varied individuals and communities who take a vested interest in the collections housed by ethnographic museums – think more deliberately from the objects in our museums? How might we theorize gender in ways that allow us to think our relationships to each other in Povinelli's (2011) ‘otherwise’ ways? Ultimately this volume brings together cutting-edge thinking in gender studies, material culture, and museum practice, centering the lens on the ethnographic as a critical category of analysis that continues to regiment how we organize the very collections in our museums.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":" 8","pages":"501 - 514"},"PeriodicalIF":0.9,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139196103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-16DOI: 10.1177/13591835231210689
Charlotte Hammond
Woven straw work produced in the Caribbean in the early twentieth century represented a small but sustainable percentage of the region's exports. Following the US occupation in Haiti (1915–1934), handicrafts were promoted as economic ‘development’: commodified folklore fashioned for the delight of visiting tourists. Up until 1946 in Curaçao, as a strategy of the Catholic church's civilising mission, young women trained to plait the so-called ‘Panama hat’ at technical schools (Römer, 1977); the products of their labour were often exhibited at international expositions and exported for sale in Europe and the United States. This article argues that missionary education that claimed to modernise, industrialise and revalue local handicraft skills to the benefit of local populations in Haiti and the Dutch Caribbean has instead perpetuated colonial gendered and racialised divisions of labour that prepare and discipline students for factory work in the global textile industries. I use straw artefacts and photographs from the collection of the Dutch National Museum of World Cultures as a starting point to trace the entanglements between imperial education and ethnographic exhibitions as sites of gender production. Drawing on Jean Casimir's concept of contre-plantation (2001), I explore how histories of indigenous craft knowledge during specific periods of resistance in Haiti have nurtured disidentification with a gendered logic of labour exploitation and racial capitalism.
{"title":"Straw craft, imperial education and ethnographic exhibitions as tightly braided sites of gender production in Haiti and Curaçao","authors":"Charlotte Hammond","doi":"10.1177/13591835231210689","DOIUrl":"https://doi.org/10.1177/13591835231210689","url":null,"abstract":"Woven straw work produced in the Caribbean in the early twentieth century represented a small but sustainable percentage of the region's exports. Following the US occupation in Haiti (1915–1934), handicrafts were promoted as economic ‘development’: commodified folklore fashioned for the delight of visiting tourists. Up until 1946 in Curaçao, as a strategy of the Catholic church's civilising mission, young women trained to plait the so-called ‘Panama hat’ at technical schools (Römer, 1977); the products of their labour were often exhibited at international expositions and exported for sale in Europe and the United States. This article argues that missionary education that claimed to modernise, industrialise and revalue local handicraft skills to the benefit of local populations in Haiti and the Dutch Caribbean has instead perpetuated colonial gendered and racialised divisions of labour that prepare and discipline students for factory work in the global textile industries. I use straw artefacts and photographs from the collection of the Dutch National Museum of World Cultures as a starting point to trace the entanglements between imperial education and ethnographic exhibitions as sites of gender production. Drawing on Jean Casimir's concept of contre-plantation (2001), I explore how histories of indigenous craft knowledge during specific periods of resistance in Haiti have nurtured disidentification with a gendered logic of labour exploitation and racial capitalism.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"33 3","pages":"515 - 538"},"PeriodicalIF":0.9,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139266900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-09DOI: 10.1177/13591835231212283
Catherine O’Brien
The COVID-19 lockdowns in Britain during 2020 and 2021 deprived people of access to studios and workshops in which we typically understand the learning and practising of skilled crafts to occur through working amongst others with materials. Recent literature on skill and craft has argued that it develops through social, participatory, and embodied processes in shared situated contexts. I argue that attention to the role of digital media within these ecologies is key to understanding how people continued to learn new craft skills during the pandemic. Drawing on Material Engagement Theory and the concept of digital materiality from digital sensory anthropology, I develop a case study around people practising pottery in Britain during the pandemic. I demonstrate how engagements with digital media are central to skill development, highlighting how the ‘digital’ and ‘terrestrial’ cannot be disentangled, and thus emphasising the importance of attending to the total hybrid learning ecology.
{"title":"COVID, clay, and the digital: The role of digital media in pottery skill development during the COVID-19 pandemic in Britain","authors":"Catherine O’Brien","doi":"10.1177/13591835231212283","DOIUrl":"https://doi.org/10.1177/13591835231212283","url":null,"abstract":"The COVID-19 lockdowns in Britain during 2020 and 2021 deprived people of access to studios and workshops in which we typically understand the learning and practising of skilled crafts to occur through working amongst others with materials. Recent literature on skill and craft has argued that it develops through social, participatory, and embodied processes in shared situated contexts. I argue that attention to the role of digital media within these ecologies is key to understanding how people continued to learn new craft skills during the pandemic. Drawing on Material Engagement Theory and the concept of digital materiality from digital sensory anthropology, I develop a case study around people practising pottery in Britain during the pandemic. I demonstrate how engagements with digital media are central to skill development, highlighting how the ‘digital’ and ‘terrestrial’ cannot be disentangled, and thus emphasising the importance of attending to the total hybrid learning ecology.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":" 15","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135291675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-05DOI: 10.1177/13591835231210440
Liang-Kai Yu, Eliza Steinbock
This article examines critical ethnographic and archival elements of Paradise Camp, Yuki Kihara's highly celebrated Aotearoa New Zealand national pavilion at the Venice Biennial in 2022. Through its scenography that in Kihara's words is “fa’afabulous,” consisting of archival collages drawn from museum collections and staged photography made after Gauguin's paintings in collaboration with queer Sāmoan communities, we argue that Kihara's heavily annotated version of a so-called paradise assembled within Paradise Camp offers a ‘potential museum’ that reconnects the missing links between colonial registrations of the past with today's queer Sāmoan lives. This queer Indigenous reconfiguration of a fabulous paradise, which refuses imperial understandings of Pacific people and geographies, seems central to Paradise Camp's queer ‘camp’ effects, much like an eye roll that dethrones authority. Therefore, we propose that such an artist-fabulated museum lays claims to an Oceanic sovereignty, and broadly fosters a shared world for Fa’afafine and queer Pasifika peoples.
{"title":"Yuki Kihara's <i>Paradise Camp</i> as a potential Fa’afafine museum: Fabulous cohabitation in a shared world","authors":"Liang-Kai Yu, Eliza Steinbock","doi":"10.1177/13591835231210440","DOIUrl":"https://doi.org/10.1177/13591835231210440","url":null,"abstract":"This article examines critical ethnographic and archival elements of Paradise Camp, Yuki Kihara's highly celebrated Aotearoa New Zealand national pavilion at the Venice Biennial in 2022. Through its scenography that in Kihara's words is “fa’afabulous,” consisting of archival collages drawn from museum collections and staged photography made after Gauguin's paintings in collaboration with queer Sāmoan communities, we argue that Kihara's heavily annotated version of a so-called paradise assembled within Paradise Camp offers a ‘potential museum’ that reconnects the missing links between colonial registrations of the past with today's queer Sāmoan lives. This queer Indigenous reconfiguration of a fabulous paradise, which refuses imperial understandings of Pacific people and geographies, seems central to Paradise Camp's queer ‘camp’ effects, much like an eye roll that dethrones authority. Therefore, we propose that such an artist-fabulated museum lays claims to an Oceanic sovereignty, and broadly fosters a shared world for Fa’afafine and queer Pasifika peoples.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"37 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135725566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-05DOI: 10.1177/13591835231210793
Muhammad Salman Khan
This paper explores the agentic capacities of inanimate objects and their role in shaping the affective atmospheres of women's markets in a post-conflict setting. To analyse this material affectivity, I draw on women's markets of Swat in Pakistan and the role of four selected objects including posters/notices, bras, mannequins and curtains in the generation, transmission and manipulation of affect. I ask, how objects matter in shaping the affectivity of women's markets during and after Swat's conflict? To answer this question, I draw on 36 semi-structured interviews with men traders ( N = 18) and women customers ( N = 18) along with my field notes. I found that centring our analyses upon gendered materiality of mundane objects allow us to capture nuances of unruly capacities and gendered affectivities of objects in the context of war and post-conflict environments. Moreover, my findings suggest that focussing on agentic capacities of objects enhance our understanding of the affective materiality of women's markets in the post-conflict setting.
{"title":"Affective materiality of women's markets: The role of objects in conflict and post-conflict settings","authors":"Muhammad Salman Khan","doi":"10.1177/13591835231210793","DOIUrl":"https://doi.org/10.1177/13591835231210793","url":null,"abstract":"This paper explores the agentic capacities of inanimate objects and their role in shaping the affective atmospheres of women's markets in a post-conflict setting. To analyse this material affectivity, I draw on women's markets of Swat in Pakistan and the role of four selected objects including posters/notices, bras, mannequins and curtains in the generation, transmission and manipulation of affect. I ask, how objects matter in shaping the affectivity of women's markets during and after Swat's conflict? To answer this question, I draw on 36 semi-structured interviews with men traders ( N = 18) and women customers ( N = 18) along with my field notes. I found that centring our analyses upon gendered materiality of mundane objects allow us to capture nuances of unruly capacities and gendered affectivities of objects in the context of war and post-conflict environments. Moreover, my findings suggest that focussing on agentic capacities of objects enhance our understanding of the affective materiality of women's markets in the post-conflict setting.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"87 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135725507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1177/13591835231211222
Maki Isaka
This article explores four-century-old “all-male” kabuki theatre of Japan as the site of logics, mechanisms, and operations of onnagata's gender performance. The term onnagata signifies actors performing women's roles in kabuki, and since the first two and a half centuries of kabuki history overlapped with the time when women were legally expelled from performance activities, male onnagata mostly developed and established the artistry and traditions of onnagata acting. Women resumed kabuki performance when it was still illegal, but that did not cancel this fact. The present article studies kabuki in this historical context in order to investigate how dynamically genders are taking shape on the kabuki stage and off. To that end, this paper uses “cultivation” (a training methodology called shugyô) as a key point of investigation, while paying special attention to female onnagata as a main subject of examination. Cultivation is the training methodology of weight that has long been used and systematized in many circles engaged in activities established in premodern times, such as Buddhism, martial arts, and performing arts, and constitutes a blanket regime for these wide-ranging areas. Cultivation is to obtain and internalize second nature to the extent that it could function as if it were natural, the process of which takes place through two stages: (1) repetitive, long-lasting, personal, and somatic training in, e.g., posture, movements, and the like, and (2) internalization of said technique as second nature. That this cultivation process is congruous with the concept of performativity in contemporary critical theory suggests that an analysis of how female kabuki actors go through cultivation in order to internalize kabuki body grammar, including gender related code can contribute not only to kabuki studies but also to gender studies.
{"title":"Masculinized femininity of women characters on the Kabuki stage: Female Onnagata's “cross-gender” performance in the “all-male” theatre","authors":"Maki Isaka","doi":"10.1177/13591835231211222","DOIUrl":"https://doi.org/10.1177/13591835231211222","url":null,"abstract":"This article explores four-century-old “all-male” kabuki theatre of Japan as the site of logics, mechanisms, and operations of onnagata's gender performance. The term onnagata signifies actors performing women's roles in kabuki, and since the first two and a half centuries of kabuki history overlapped with the time when women were legally expelled from performance activities, male onnagata mostly developed and established the artistry and traditions of onnagata acting. Women resumed kabuki performance when it was still illegal, but that did not cancel this fact. The present article studies kabuki in this historical context in order to investigate how dynamically genders are taking shape on the kabuki stage and off. To that end, this paper uses “cultivation” (a training methodology called shugyô) as a key point of investigation, while paying special attention to female onnagata as a main subject of examination. Cultivation is the training methodology of weight that has long been used and systematized in many circles engaged in activities established in premodern times, such as Buddhism, martial arts, and performing arts, and constitutes a blanket regime for these wide-ranging areas. Cultivation is to obtain and internalize second nature to the extent that it could function as if it were natural, the process of which takes place through two stages: (1) repetitive, long-lasting, personal, and somatic training in, e.g., posture, movements, and the like, and (2) internalization of said technique as second nature. That this cultivation process is congruous with the concept of performativity in contemporary critical theory suggests that an analysis of how female kabuki actors go through cultivation in order to internalize kabuki body grammar, including gender related code can contribute not only to kabuki studies but also to gender studies.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"144 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135371202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.1177/13591835231210438
Ladan Rahbari
In this article, I trace Safavid paintings depicting women's imagery online and explore the possibility of digitally mapping Safavid (1501–1736) paintings featuring women on publicly accessible platforms. Along with the practice of online mapping that led me to digital museums, I investigated the descriptions presented on three digitized paintings on different platforms to address the questions, “Where and how can Safavid paintings be digitally encountered” and “In light of the theoretical developments in the scholarship on pre-modern discourses of Safavid gender and sexuality, how do the descriptions of Safavid paintings reflect gender discourses online?” By following Safavid paintings of women online and probing the textual descriptions attached to them, and using netnographic research methods to document my experience and encounter with the digitized Safavid paintings, I explore whether the online descriptions accompanying the images could contribute to the making of decolonial knowledge about non-Western gender discourses.
{"title":"Down the (digital) rabbit hole: Mapping and decolonizing Safavid women's imagery in digital museums","authors":"Ladan Rahbari","doi":"10.1177/13591835231210438","DOIUrl":"https://doi.org/10.1177/13591835231210438","url":null,"abstract":"In this article, I trace Safavid paintings depicting women's imagery online and explore the possibility of digitally mapping Safavid (1501–1736) paintings featuring women on publicly accessible platforms. Along with the practice of online mapping that led me to digital museums, I investigated the descriptions presented on three digitized paintings on different platforms to address the questions, “Where and how can Safavid paintings be digitally encountered” and “In light of the theoretical developments in the scholarship on pre-modern discourses of Safavid gender and sexuality, how do the descriptions of Safavid paintings reflect gender discourses online?” By following Safavid paintings of women online and probing the textual descriptions attached to them, and using netnographic research methods to document my experience and encounter with the digitized Safavid paintings, I explore whether the online descriptions accompanying the images could contribute to the making of decolonial knowledge about non-Western gender discourses.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135373072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-29DOI: 10.1177/13591835231210659
Fanny Wonu Veys
On 10 October 2019 the exhibition What a Genderful World opened in the Tropenmuseum in Amsterdam. The central premise was that all people experience inhabiting a body that moves, lives and breathes in a gendered world. The article firstly examines the process of making this a ‘gender' exhibition. In order to refrain from labelling, the exhibition team departed from the original assignment that aimed at an exhibition about ‘women’. Asking questions of what makes a woman or a man or any other gender identity in relation to the museum's historically and geographically diverse collections, revealed the necessity to do justice to the multiple layers involved in a discussion about gender. Ideas around gender are shaped and expressed differently through time and space, but other intersectional aspects including race, religion, socio-economic class, age or sexual orientation may well be equally important. Hence, this section discusses the means by which this huge and complex topic is made accessible in the exhibition to a broad audience. Finally, the article takes the reader on a journey through the various areas of the exhibition framed around the following questions: (1) What do you think? (2) Does your body determine your gender? (3) How do you become a gender? (4) How ought you to behave? (5) Gender without borders? (6) Who has power here? (7) Playful with gender? In so doing, the article addresses the theoretical framework underlying the choice of certain interactives and the privileging of design elements. The article will conclude with a critical reflection on the museum's role in the societal debate around gender.
2019年10月10日，“What a Genderful World”展览在阿姆斯特丹Tropenmuseum开幕。其中心前提是，所有人都体验到自己的身体在一个性别化的世界里运动、生活和呼吸。文章首先考察了这个“性别”展览的制作过程。为了避免标签，展览团队偏离了最初的任务，旨在举办一个关于“女性”的展览。在博物馆历史上和地理上多样化的藏品中，询问是什么造就了女人、男人或任何其他性别认同，揭示了公正对待性别讨论所涉及的多层次的必要性。随着时间和空间的不同，性别观念的形成和表达方式也不同，但其他交叉方面，包括种族、宗教、社会经济阶层、年龄或性取向，可能同样重要。因此，本节将讨论如何使这个庞大而复杂的主题在展览中呈现给广大观众。最后，文章围绕以下问题带领读者穿越展览的各个领域:(1)你怎么看?(2)你的身体决定你的性别吗?(3)你是如何成为一个性别的?你应该如何表现?(5)性别无国界?这里谁有权力?(7)玩弄性别?通过这种方式，本文阐述了某些交互选择和设计元素特权的理论框架。文章最后将对博物馆在围绕性别的社会辩论中所扮演的角色进行批判性反思。
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