PRINT November 2004



Throughout his career, Mark Dion has engaged classificatory systems in both the natural sciences and museological practices, underscoring not only how we order the messy boundaries between nature and culture, but also the more contested dynamics of control and exclusion manifested by acts of social policy and cultural preservation. He has collected plant, rock, and animal specimens in locales as diverse as the Amazon and New York’s Chinatown; rearranged the holdings of natural and cultural history museums in Switzerland and Spain; and conducted archaeological digs in New England and London. Now he turns his critical eye to the Museum of Modern Art. For a project commissioned to coincide with the opening of MoMA’s new building this month, Dion examined the construction site—and, more specifically, the architectural artifacts that were removed or destroyed to make way for the museum’s

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