Trusting the Process: The Collaborative Journey to Reframing a Problematic Object

This article was first published by the American Alliance of Museums.

“Put it in storage.”

“Replace it with something else.”

“Put up a new label.”

“Do nothing.”

These were some of the solutions offered up when the Chazen Museum of Art at the University of Wisconsin–Madison began exploring how to confront the deeply problematic nature of an object in its collection. Thomas Ball’s Emancipation Group (1873), a half-life-size marble sculpture depicting Abraham Lincoln standing over a kneeling, newly “emancipated” person, had been on view in the museum since 1976 without contextualization or opportunity for visitor response. Like many institutions, we at the Chazen struggled with finding the “right” way to interpret the object without imposing our own inherent privilege. It wasn’t until we let go of all expectations around control and process that we realized the journey to recontextualizing Emancipation Group, in all its discomfort and vulnerability, was just as important as the outcome itself.