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95 FIGS. 4 and 5: Views of the installation by Peggy Buth (above) and a storage system for bark paintings and weapons and, on the wall, a photograph by Armin Linke (right). Photos: Wolfgang Günzel, 2013. sion of conserving “foreign” cultures for eternity, and the challenges that finding ways to do so presented. It is also the story of the involvement and effects of money. The exhibition is the result of a collaborative effort. The knowledge and experience of the museum’s researchers were complemented by the artistic contributions of Peggy Buth (Germany), Minerva Cuevas (Mexico), Luke Willis Thompson (New Zealand), and David Weber-Krebs (Belgium). Each artist worked in the museum’s laboratory areas for several weeks and focused on different aspects of its collection and history. This process resulted in the creation of temporary open installations intended to serve as possible points of access to the subject of the exhibition. Thompson focused on the repatriation of objects. To make his point, he used the metaphor of the repatriation of human remains of citizens of Frankfurt to their country of origin. Buth worked on the interpretation of the biographies of four figures modeled after portrait photos of a New Guinea man named Kubai. She used him as a starting point for an in-depth analysis of representations of people in missionary photographs. Weber-


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