ART ON VIEW FIG. 13 (above): Installation view of the Wayana Apalai display in Out of the Amazon. Courtesy of the Houston Museum of Natural Science. FIG. 14 (right): First encounter Yanomamö warrior. In situ photograph by Michael Stuart, 1970. Courtesy of the Mekler Collection. FIG. 15 (below): Installation view of the Ye’kuana display in Out of the Amazon. Courtesy of the Houston Museum of Natural Science. 90 costumes. With the enthusiasm of its superb administrative leadership and curatorial staff, as well as their top-fl ight storage facilities, this museum was the ideal home for this body of Amazonian artifacts. However, the collection was not to sit stagnant in Houston. In 2004, Stanford University’s Cantor Art Center expressed interest in an exhibition to be accompanied by a catalog. This resulted in the 2005 traveling exhibit Vanishing Worlds, which opened at the Cantor Art Center, followed by Baylor University’s Mayborn Museum, the University of Pennsylvania’s Museum of Archaeology and Anthropology, the Birmingham Museum of Art, and HMNS, respectively. The exhibition concentrated on ritual, shamanism, and the relationship of these to the material culture of nine tribes, and of all the shows that had employed the collection to date, this perhaps best illustrated its comprehensive nature. The section devoted to the Ka’apor focused on the ta’l hupi rahã, the infant name-giving ceremony, and displayed the objects made and worn specifi cally for this occasion, all of which reveal gender-specifi c division (fi g. 2). The Karajá displays related to their initiation ceremonies and included dorsal headdresses, body ornaments, and skirts, as well as rare headdresses worn by adult men and shamans during this and other ceremonies. The Tapirapé tribe was represented with headdresses used in the shaman initiation ceremonies and featured a complete range of masks, including the upé masks that commemorate the spirits of the dead. A pair of rare Tapirapé headdress/body costumes known as jakuí, representing the anchunga, or forest spirits, illustrated the cross-tribal infl uence of the Karajá aruanã headdress/body costume. The iwata, the largest mask and body costume known in the Amazon Basin, is represented by a Kamayurá example (fi g. 5). It was one of many pieces belonging to the Xinguarea tribes and used in healing rituals. The Kayapó subgroups were represented by seven different full-body costumes representing the spirits of anteaters and monkeys. A variety of Kayapó dorsal headdresses and headdresses and
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