Abstract
Two exhibits, the Margaret Mead Hall of Pacific Peoples at the American Museum of Natural History (1971) and Traveling the Pacific at the Field Museum of Natural History (1989), are compared. Foucault's concept of heterotopia is used to examine why, in spite of major recent changes in museum philosophy and technology, the subtexts of the two exhibits remain remarkably similar. Both confuse spatial distance with temporal flow, creating an incoherent framework of disjunctive orders.
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