This is a book about objects. Stones, ruins, bones, mummies, mannequins, statues, photographs, fakes, instruments, and natural history specimens all formed part of Mexico’s National Museum complex at different moments across two centuries of collecting and display.Museum Matters traces the emergence, consolidation, and dispersal of this national museum complex by telling the stories of its objects. Objects that have been separated over time are brought back together in this book in order to shed light on the interactions and processes that have forged things into symbols of science, aesthetics, and politics. The contributors to this volume illuminate how collections came into being or ceased to exist over time, or how objects moved in and out of collections and museum spaces. They explore what it means to move things physically and spatially, as well as conceptually and symbolically.Museum Matters unravels the concept of the national museum. By unmaking the spaces, frameworks, and structures that form the complicated landscape of national museums, this volume brings a new way to understand the storage, displays, and claims about the Mexican nation’s collections today.Contributors: Miruna Achim, Christina Bueno, Laura Cházaro, Susan Deans-Smith, Frida Gorbach, Haydeé López Hernández, Carlos Mondragón, Bertina Olmedo Vera, Sandra Rozental, Mario Rufer.

This is a book about objects. Stones, ruins, bones, mummies, mannequins, statues, photographs, fakes, instruments, and natural history specimens all formed part of Mexico’s National Museum complex at different moments across two centuries of collecting and display.Museum Matters traces the emergence, consolidation, and dispersal of this national museum complex by telling the stories of its objects. Objects that have been separated over time are brought back together in this book in order to shed light on the interactions and processes that have forged things into symbols of science, aesthetics, and politics. The contributors to this volume illuminate how collections came into being or ceased to exist over time, or how objects moved in and out of collections and museum spaces. They explore what it means to move things physically and spatially, as well as conceptually and symbolically.Museum Matters unravels the concept of the national museum. By unmaking the spaces, frameworks, and structures that form the complicated landscape of national museums, this volume brings a new way to understand the storage, displays, and claims about the Mexican nation’s collections today.ContributorsMiruna Achim, Christina Bueno, Laura Cházaro, Susan Deans-Smith, Frida Gorbach, Haydeé López Hernández, Carlos Mondragón, Bertina Olmedo Vera, Sandra Rozental, Mario Rufer.

Where and to whom do ancient things belong? What happens when they are stolen—not by a colonial power, but by a national museum claiming them as state patrimony? What kinds of healing and restitution can follow? In The Absent Stone, Sandra Rozental tells the story of the Piedra de los Tecomates, the largest stone monument in the Americas, popularly identified as the pre-Hispanic rain deity Tlaloc. In 1964, the Mexican state called in the military to forcefully relocate this 167-ton carving from the town of Coatlinchan to Mexico City’s National Anthropology Museum. Using in-depth historical and ethnographic research, Rozental traces how the stone’s absence continues to affect and unsettle Coatlinchan and its residents decades later, revealing the tensions between patrimony, nationalism, territory, memory, and materiality in Mexico. Questioning the premise that historical artifacts belong in museums under state-sanctioned care, The Absent Stone pushes contemporary critical scholarship on monuments and museum collections beyond the language of law, heritage, and cultural property, demonstrating how ancient things remain bound to the people and places they come from even after they are removed and displayed elsewhere.

Where and to whom do ancient things belong? What happens when they are stolen—not by a colonial power, but by a national museum claiming them as state patrimony? What kinds of healing and restitution can follow? In The Absent Stone, Sandra Rozental tells the story of the Piedra de los Tecomates, the largest stone monument in the Americas, popularly identified as the pre-Hispanic rain deity Tlaloc. In 1964, the Mexican state called in the military to forcefully relocate this 167-ton carving from the town of Coatlinchan to Mexico City’s National Anthropology Museum. Using in-depth historical and ethnographic research, Rozental traces how the stone’s absence continues to affect and unsettle Coatlinchan and its residents decades later, revealing the tensions between patrimony, nationalism, territory, memory, and materiality in Mexico. Questioning the premise that historical artifacts belong in museums under state-sanctioned care, The Absent Stone pushes contemporary critical scholarship on monuments and museum collections beyond the language of law, heritage, and cultural property, demonstrating how ancient things remain bound to the people and places they come from even after they are removed and displayed elsewhere.

This is a book about objects. Stones, ruins, bones, mummies, mannequins, statues, photographs, fakes, instruments, and natural history specimens all formed part of Mexico’s National Museum complex at different moments across two centuries of collecting and display.Museum Matters traces the emergence, consolidation, and dispersal of this national museum complex by telling the stories of its objects. Objects that have been separated over time are brought back together in this book in order to shed light on the interactions and processes that have forged things into symbols of science, aesthetics, and politics. The contributors to this volume illuminate how collections came into being or ceased to exist over time, or how objects moved in and out of collections and museum spaces. They explore what it means to move things physically and spatially, as well as conceptually and symbolically.Museum Matters unravels the concept of the national museum. By unmaking the spaces, frameworks, and structures that form the complicated landscape of national museums, this volume brings a new way to understand the storage, displays, and claims about the Mexican nation’s collections today.Contributors: Miruna Achim, Christina Bueno, Laura Cházaro, Susan Deans-Smith, Frida Gorbach, Haydeé López Hernández, Carlos Mondragón, Bertina Olmedo Vera, Sandra Rozental, Mario Rufer.

This is a book about objects. Stones, ruins, bones, mummies, mannequins, statues, photographs, fakes, instruments, and natural history specimens all formed part of Mexico’s National Museum complex at different moments across two centuries of collecting and display.Museum Matters traces the emergence, consolidation, and dispersal of this national museum complex by telling the stories of its objects. Objects that have been separated over time are brought back together in this book in order to shed light on the interactions and processes that have forged things into symbols of science, aesthetics, and politics. The contributors to this volume illuminate how collections came into being or ceased to exist over time, or how objects moved in and out of collections and museum spaces. They explore what it means to move things physically and spatially, as well as conceptually and symbolically.Museum Matters unravels the concept of the national museum. By unmaking the spaces, frameworks, and structures that form the complicated landscape of national museums, this volume brings a new way to understand the storage, displays, and claims about the Mexican nation’s collections today.ContributorsMiruna Achim, Christina Bueno, Laura Cházaro, Susan Deans-Smith, Frida Gorbach, Haydeé López Hernández, Carlos Mondragón, Bertina Olmedo Vera, Sandra Rozental, Mario Rufer.

Where and to whom do ancient things belong? What happens when they are stolen—not by a colonial power, but by a national museum claiming them as state patrimony? What kinds of healing and restitution can follow? In The Absent Stone, Sandra Rozental tells the story of the Piedra de los Tecomates, the largest stone monument in the Americas, popularly identified as the pre-Hispanic rain deity Tlaloc. In 1964, the Mexican state called in the military to forcefully relocate this 167-ton carving from the town of Coatlinchan to Mexico City’s National Anthropology Museum. Using in-depth historical and ethnographic research, Rozental traces how the stone’s absence continues to affect and unsettle Coatlinchan and its residents decades later, revealing the tensions between patrimony, nationalism, territory, memory, and materiality in Mexico. Questioning the premise that historical artifacts belong in museums under state-sanctioned care, The Absent Stone pushes contemporary critical scholarship on monuments and museum collections beyond the language of law, heritage, and cultural property, demonstrating how ancient things remain bound to the people and places they come from even after they are removed and displayed elsewhere.

Where and to whom do ancient things belong? What happens when they are stolen—not by a colonial power, but by a national museum claiming them as state patrimony? What kinds of healing and restitution can follow? In The Absent Stone, Sandra Rozental tells the story of the Piedra de los Tecomates, the largest stone monument in the Americas, popularly identified as the pre-Hispanic rain deity Tlaloc. In 1964, the Mexican state called in the military to forcefully relocate this 167-ton carving from the town of Coatlinchan to Mexico City’s National Anthropology Museum. Using in-depth historical and ethnographic research, Rozental traces how the stone’s absence continues to affect and unsettle Coatlinchan and its residents decades later, revealing the tensions between patrimony, nationalism, territory, memory, and materiality in Mexico. Questioning the premise that historical artifacts belong in museums under state-sanctioned care, The Absent Stone pushes contemporary critical scholarship on monuments and museum collections beyond the language of law, heritage, and cultural property, demonstrating how ancient things remain bound to the people and places they come from even after they are removed and displayed elsewhere.