Museum Studies: Theories and Practices BDP 319 (61885) – Fall 2017 Tuesdays & Thursdays 9:30-11:00 ART 3.433

INSTRUCTORS: Dr. Chris Bell Dr. Julia Guernsey Office: JGB 3.316F Office: DFA 2.514 Office hours: M 9:30-10:30 Office hours: T, W, Th 11-12:00 Email: [email protected] Email: [email protected]

This class, one of the foundation courses in the Museum Studies Bridging Disciplines certificate, is designed to introduce students to some of the main issues in museum studies and practices. The course will explore these issues through a focus on both art and natural history museums and their practices of collecting and display. Topics to be considered include issues of cultural heritage, the legalities of collecting, who “owns” specimens and works of art, the legacies of colonialism, methods of classification, and the relationship between collecting and global conflict.

This course carries the Ethics and Leadership Flag. Ethics and Leadership courses are designed to equip you with skills that are necessary for making ethical decisions in your adult and professional life. You should therefore expect a substantial portion of your grade to come from assignments involving ethical issues and the process of applying ethical reasoning to real-life situations.

**When communicating with us regarding attendance or other issues concerning the course, please copy both of us on emails.

Grading: Attendance: 10% Participation: 20% Brief research proposal for a BDP Connecting Experiences in a museum context: 20% Two Reflection Essays on ethical issues in museum contexts: 50% Essay One: University Collections, Natural History, and Culture History: The Texas Memorial Museum and/or the Precolumbian objects Essay Two possible topics: 1. Case Study: Elgin Marbles debate 2. Museums, archaeologists, and conflicting agendas 3. Museums, collections, and Colonialism 4. Museums and issues of cultural patrimony 5. Museums and global conflict 6. Museums and issues of repatriation 7. Case Study: Nazi art and issues of repatriation 8. Case Study: The ethics of collaboration and co-authorship

Accommodations for religious holidays: You must notify us of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, you will be given an opportunity to complete the missed work within a reasonable time after the absence.

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Students with disabilities may request appropriate academic accommodations from the Division of Diversity and Community Engagement, Services for Students with Disabilities, 471-6259, http://www.utexas.edu/diversity/ddce/ssd/

SEQUENCE OF DISCUSSION TOPICS and READINGS (all posted on Canvas): Aug. 31 (Th): Introduction to course

Sept. 5 (T): Thinking about collecting and collections: Art and material culture Read: Excerpts from James Clifford, “On Collecting Art and Culture,” in The Predicament of Culture, pp. 215-236; 246-251. Cambridge University Press, 1988. • Thought questions: What’s the difference between “art” and “material culture” and how do these questions of classification affect the way objects are collected and displayed? How can Clifford’s ideas be applied to the various collections, archives, and museums on campus?

Sept. 7 (Th): Thinking about collecting and collections: Natural History Read: 1. T. J. LaDuc, and C. J. Bell. 2010. Educating students on the importance of spatial and temporal bias in museum collections: An example using Sonora semiannulata from Texas. Herpetological Review 41(3):292-298. 2. J. A. Campbell, and D. R. Frost. 1993. “Conservation Biology,” pp. 53- 56 in Anguid Lizards of the Genus Abronia: Revisionary Notes, Descriptions of Four New Species, a Phylogenetic Analysis, and Key. Bulletin of the American Museum of Natural History 216. • Thought questions: What is the role of a natural history museum collection? To what purposes can such collections be applied? What challenges may be associated with developing and maintaining such a collection?

Sept. 12 (T): Museum philosophies: Art MEET AT THE BLANTON MUSEUM OF ART (**it doesn’t open until 10 AM, so we will meet at its entrance where there are some benches and talk informally for 30 minutes). Guest lecture by Siobhan McCusker, Museum Education/University Audiences, Blanton Museum of Art (http://blantonmuseum.org/images/bma/map.pdf) Read: 1. Blanton Museum Annual Report 2012-2013 https://blantonmuseum.org/wp-content/uploads/files/2014/2012- 13_Annual_Report.pdf 2. Arianne Cohen. “A Museum: Museum of Modern Art.” NY Magazine. June 3, 2007. http://nymag.com/news/features/2007/profit/32904/

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3. Mark Gunderson. 2000. “A Flaw in the System: A Battle over Architecture Strips the University of Texas a Signature Building.” Cite 47: 34-37. • Thought questions: What are the Blanton’s goals as a campus art museum? What is the breadth of its collection? Should a university art museum’s goals differ from those of other museums? How and why?

Sept. 14 (Th): Histories of collecting and questions of authenticity at UT: the Battle Casts MEET AT THE STARK CENTER, with guest lecture by Adam Rabinowitz, Associate Professor, Department of Classics and Assistant Director of the Institute of Classical Archaeology at UT Gate 16, North End Zone Suite 5.700, Texas Memorial Stadium (https://www.starkcenter.org/visit/) Read: 1. Adam Rabinowitz, “‘Museum of Ancient Art’ or White Elephant? The Battle Collection of Plaster Casts at The University of Texas at Austin.” 2. Blanton Museum Battle Casts: http://blantonmuseum.org/tag/battle-casts/ • Thought questions: What are the roles/values of original works of art vs. copies? Where do such objects – or casts more generally – belong? What tensions does the Rabinowitz essay raise about the issues of space, didactic goals, and the integrity of a collection? What role might casts play in a natural history collection (think about paleontology)? Are they perceived and used differently than casts of art objects?

Sept. 19 (T): Museum philosophies: Natural History Read: 1. J. Grinnell. 1910. The Methods and Uses of a Natural History Museum. Popular Science Monthly 77:163-169. [Pp. 31-39 in Joseph Grinnell’s Philosophy of Nature. Selected Writings of a Western Naturalist. University of California Press, Berkeley, California]. 2. Asma, S. T. 2001. Flesh-eating beetles and the secret art of taxidermy. Pp. 3-46 in Stuffed Animals and Pickled Heads. The Culture and Evolution of Natural History Museums. Oxford University Press, New York, New York. • Thought questions: What are the principles that guide development of a natural history collection and how have they changed through time?

Sept. 21 (Th): The Texas Memorial Museum past and present: the natural history part Read:

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1. Anonymous 2002. “Texas Memorial Museum to emphasize natural science research, education.” On Campus (The University of Texas at Austin) August 21, 2002. 2. Anonymous. 2003. “Only Natural: The Texas Memorial Museum turns back toward its future.” Austin Chronicle. February 21, 2003. • Thought questions: What challenges emerge when a museum decides to change its collections focus? What rules should govern deaccession of collections? Who has responsibility for collections disposition (museum administration? Board of directors? Higher institution, like a university? Etc.)

Sept. 26 (T): The Texas Memorial Museum past and present: guest lecture by John Maisano, Texas Memorial Museum’s Exhibit Designer 1. About John Maisano at http://tmm.utexas.edu/stcat/ 2. Parr, A. E. 1962. The obsolescence and amortization of permanent exhibits. Curator 5:258-264. • Thought questions: Think about the relationship between art and science with respect to exhibit design and construction in natural history museum? What tensions may emerge between experts in these different areas?

Sept. 28 (Th): Visit to the Texas Memorial Museum MEET AT THE TEXAS MEMORIAL MUSEUM (http://tmm.utexas.edu/visit-tmm/directions.html) • Thought questions: Think about space utilization, the visual aspects of a museum exhibit (including lighting, exhibit containment, the objects on display), and the relationship between space and the visitor experience in a museum. What is the potential of digital technologies for altering the museum experience? What challenges may be associated with implementing those technologies?

Oct. 3 (T): The Texas Memorial Museum past and present: the art and culture part MEET IN THE ART HISTORY DEPARTMENT CONFERENCE ROOM, DFA 2.506, TO VIEW PRECOLUMBIAN OBJECTS; Guest speaker Dr. Astrid Runggaldier of UT’s Mesoamerica Center Read: 1. Dept. of Art & Art History Proposal for Collection 2. Sample pages from TMM cultural artifacts inventory 3. Excerpts concerning the Art and Art History Collection of objects in Andrée Bober (editor), The Collections, The University of Texas at Austin, pp. 160-171, 87-89. University of Texas Press, 2016. • Thought questions: Given the range of materials in this collection, from obsidian to ceramics, where do these objects belong at UT? What didactic information should accompany their presentation?

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How should they be displayed, if at all? Are they “art” or something else?

Oct. 5 (Th): Precolumbian Objects: From the Texas Memorial Museum to the Blanton and a “Latin American Art” context MEET AT THE BLANTON MUSEUM OF ART (**it doesn’t open until 10 AM, so we will meet at its entrance where there are some benches and talk informally for 30 minutes) (http://blantonmuseum.org/images/bma/map.pdf) Read: 1. Davis Museum, Wellesley College sample Precolumbian label text 2. Runggaldier Blanton Label Text drafts 3. (combined in same PDF) Susan Sleeper-Smith, “Contesting Knowledge: Museums and Indigenous Perspectives,” pp. 1-5, and Ray Silverman, “The Legacy of Ethnography,” pp. 9-14, in Contesting Knowledge: Museums and Indigenous Perspectives, ed. Susan Sleeper- Smith, University of Nebraska Press, 2009. 4. Leonardo López Luján, “Conflicts of Interest?” In Society for American Archaeology Bulletin 18 (4): 26. September 2000. 5. Press release concerning the Thoma Collection of colonial art: https://thomafoundation.org/wp-content/uploads/2016/12/Spanish- Colonial-Release_FINAL.pdf 6. Blanton Museum announces major initiative in Spanish Colonial art: http://arts.blog.austin360.com/2016/11/30/blanton-museum-announces- major-initiative-in-spanish-colonial-art/ Thought questions: What is UT’s responsibility, in the state of Texas, to objects from Latin America, or which were created by indigenous groups? What is gained/lost in the display of Precolumbian objects at the Blanton? How should the didactic materials address issues of provenience? How transparent should a museum be about these issues? How are the Precolumbian objects framed within a larger Latin American context, especially one that includes a new display of colonial art?

Oct. 10 (T): Issues of provenance, cultural heritage, and the legalities of collecting Read: 1. UNESCO agreement: http://portal.unesco.org/en/ev.php- URL_ID=13055&URL_DO=DO_TOPIC&URL_SECTION=201.html 2. James Cuno, “More Political Matters,” in Who Owns Antiquity?, pp. 44- 53. Princeton University Press. 2008. 3. Khan, Kulsoom. “Man who destroyed artifacts in Mali gets nine years in prison.” PBS Newshour Sept. 27, 2016. http://www.pbs.org/newshour/rundown/man-destroyed-artifacts-mali-gets- nine-years-prison/ 4. Duellman, W. E. 1999. Perils of Permits: Procedures and Pitfalls. Herpetological Review 30(1):12-16.

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• Thought questions: What is UNESCO, what are its goals, and what does it have to do with collecting? What are its accomplishments? What are its shortcomings?

Oct. 12 (Th): Who owns antiquities? Art Part I Read: 1. James Cuno, “Introduction” in Whose Culture? The Promise of Museums and the Debate over Antiquities, pp. 1-35. Princeton University Press. 2009. 2. Roger Atwood, “Guardians of Antiquity?” Review of James Cuno’s book Who Owns Antiquity? Archaeology 61 (4): 1-5. 2008. 3. Irene Winter review of James Cuno’s book Who Owns Antiquity? Art Bulletin XCI (4): 522-525. 2009. Discuss 1st Reflection Essay and Connecting Experience Research proposal Read: Peruse the BDP Connecting Experience page for ideas: https://www.utexas.edu/ugs/bdp/current/experiences • Thought questions: Be prepared to summarize the differences in points of view between Cuno, Atwood, and Winter. Think in terms of the pros and cons of “encyclopedic museums,” which audiences are served (and which are not) and potential alternatives. Discuss 1st Reflection Essay. Begin to think about your BDP Connecting Experience Research Proposal!

Oct. 17 (T): Who owns antiquities? Art Part II Read: 1. The Marion True controversy: peruse the PDF on Canvas that contains a number of news stories from different venues regarding Marion True and the Getty Museum controversy 2. Geoff Edgars, “One of the world’s most respected curators vanished from the art world. Now she wants to tell her story.” The Washington Post Aug. 23, 2015. https://www.washingtonpost.com/entertainment/museums/the-curator- who-vanished/2015/08/19/d32390f8-459e-11e5-846d- 02792f854297_story.html?utm_term=.1ee12df44b4c 3. (Recommended but not required) Rebecca Mead, “Den of Antiquity: The Met defends its treasures.” The New Yorker April 9, 2007. http://www.newyorker.com/magazine/2007/04/09/den-of-antiquity • Thought questions: What are the legal obligations of curators and museums when collecting antiquities? What sorts of networks of individuals are involved in the acquisition of antiquities?

Oct. 19 (Th): Who owns specimens? Natural History Part I Read: 1. D. M. Martill. 2011. Protect – and Die. Geoscientist 21.10 November, 2011. Online at https://www.geolsoc.org.uk/Geoscientist/Archive/November-2011/Protect- and-die

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2. M. C. Langer, R.Iannuzzi, A. A. S. da Rosa, R. P. Ghilardi, C. S. Scherer, V. G. Pitana, and T. L. Dutra. 2012. A reply to Martill – The Bearable Heaviness of Liability. Geoscientist Online Special 12 March 2012. Online at https://www.geolsoc.org.uk/Geoscientist/Archive/April-2012/A-reply-to- Martill--The-Bearable-Heaviness-of-Liability 3. Sample, I. 2009. Unearthed: The murky world of fossil collecting. The Guardian 22 May 2009. 3 pp. • Thought questions: Ideas of cultural patrimony extend to natural history objects; there are laws that govern collection, export, and import of natural history objects. Is there a possibility of ‘over- protection’ and consequent loss of data/knowledge about unique materials? What are the ethical issues involved?

Oct. 24 (T): Who owns specimens? Natural History Part II Read: 1. Society of Vertebrate Paleontology Ethics Statement 2. Barrett, P. M. and M. C. Munt 2014. Private collections hold back science. Nature 512:28. 3. Rauhut, O. W. M., A. López-Arbarello, and G. Wörheide. 2014. Private collections of fossils are a plus. Nature 512:371. • Thought questions: Private collections present special challenges and concerns in science; as you read, think about what those challenges might be, and develop an informed opinion on this topic. Reflection Essay One Due.

Oct. 26 (Th): TBA (Plant Resources Collection) Read: TBA

Oct. 31 (T): Colonialism and the Museum: Natural History Read: Daszkiewicz, P., and A. M. Bauer. 2003. The confiscation and replacement of herpetological collections by France under the First Republic and Empire, with notes on an historically important collection send to Vienna in 1815. Newsletter and Bulletin of the International Society for the History and Bibliography of Herpetology 4(1):15-27. • Thought questions: Movement, reorganization, and destruction of natural history specimens and their associated documentation during war have important impacts on subsequent scientific investigations and research. As you read this paper, think about what those impacts might be, especially those that are not called out specifically in the reading.

Nov. 2 (Th): Colonialism and the Museum: Art Part I Read: Timothy Mitchell, The World as Exhibition. Comparative Studies in Society and History 31 (2): 217-236. 1989.

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• Thought questions: Be prepared to articulate the key points of Mitchell’s essay, addressing issues of race, identity, and nationalism in the history of display. What other developments of the late 19th century influenced the developmental trajectories of museums?

Nov. 7 (T): Colonialism and the Museum: Art Part II: the Elgin Marbles debate Read and/or peruse the following essays/web sites: 1. James Cuno, preface to Who Owns Antiquity?, pp. ix-xii. 2. Fred A. Bernstein, “Greece’s Colossal New Guilt Trip,” New York Times, January 18, 2004: http://www.nytimes.com/2004/01/18/arts/architecture- greece-s-colossal-new-guilt-trip.html 3. Michael Kimmelman, “Elgin Marble Argument in a New Light,” New York Times June 23, 2009: http://www.nytimes.com/2009/06/24/arts/design/24abroad.html and accompanying slide show “The New Acropolis Museum,” http://www.nytimes.com/slideshow/2009/06/19/arts/20090620-acropolis- slideshow_index-10.html 4. Liz Alderman, “Greece Rules Out Suing British Museum Over Elgin Marbles,” New York Times, May 14, 2015: http://www.nytimes.com/2015/05/15/world/europe/greece-british-museum- elgin-marbles.html 5. Peruse this web site, which outlines the Greek position: http://odysseus.culture.gr/a/1/12/ea125.html 6. Peruse this web site, which outlines the British Museum’s position: http://www.britishmuseum.org/about_us/news_and_press/statements/parthe non_sculptures.aspx • Thought questions: For this class, you will be divided into groups, one representing Greece and the other the British Museum. Be prepared to argue in defense of one side of the argument; to do so, you should also be well aware of the alternative side of the argument

Nov. 9 (Th): Issues of classification: Art MEET AT THE CHRISTIAN GREEN GALLERY, 201 E. 21st St. in the Jester Center to view exhibition “History, Labor, Life: The Prints of Jacob Lawrence” and for guest lecture by Lise Ragbir, Director of the Warfield Center Galleries (Bio: Lise Ragbir brings over fifteen years of cultural management experience to the Warfield Center. The journey has taken her from the Smithsonian Institution’s National Museum of African Art, to the United Nations, to a Swiss corporate collection, to one of the most notable collections of public art in the state of Texas. From her work as a grant-maker with private foundations, to her work with museums and community- based cultural organizations, her experience spans public, private, for-profit and non-profit cultural initiatives. She holds a BFA in Art History and Studio Art from Concordia University in Montreal, and completed her graduate work in Museum Studies at Harvard University. She is first-generation Canadian of Trinidadian-descent, and has spent the last five years in Austin, Texas.) https://galleriesatut.org/event/history-labor-life-the-prints-of-jacob- lawrence/ Read:

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1. Eddie Chambers, “The difficulties of naming white things.” Small Axe, Volume 16, Number 2, July 2012 (No. 38), pp. 186-197. 2. Cherise Smith and Gary Matthews, “What is the Relevance of Museums? Can you Imagine a World Without Them?” In Beyond the Turnstile: Making the Case for Museums and Sustainable Values, eds. Selma Holo and Mari-Tere Alvarez, pp. 44-53. Lanham: University of Southern California and AltaMira Press, 2009. 3. Lise Ragbir. 2016. How Public Art Can be a Powerful Protest. Time Magazine online http://time.com/4567736/public-art-protest/ Nov. 11, 2016 4. Lonnie G. Bunch, III. A Noose at the Smithsonian Brings History Back to Life. The New York Times, June 23, 2017 https://www.nytimes.com/2017/06/23/opinion/noose-smithsonian-african- american-museum.html?emc=eta1&_r=0 • Thought questions: What is “normativity” and how should art museums address it? What role does race play in museums, galleries, and displays? What is the role of a university in these dialogues?

Nov. 14 (T): Issues of classification: Natural History Read: S.J. Gould. 1993. Reconstructing (and deconstructing) the past. pp. 6-21 in The Book of Life: An Illustrated History of the Evolution of Life on Earth (S.J. Gould, ed.). W. W.Norton & Company, New York. • Thought questions: Think again about the relationship between art and natural history; how do artistic representations of specimens, or of the past, influence the way we think about science? Are there special concerns for scientific illustration that set it apart from other forms of art?

Nov. 16 (Th): The ethics of collaboration and co-authorship in museum contexts. Read: Van Beek, C., and M. Brown. 2010. Three dimensional preparation of a Late Cretaceous sturgeon from Montana: A case study. The Geological Curator 9:149-153. • Thought questions: What level of contribution to a project justifies authorship on a publication? Is this a purely objective determination? Who has the responsibility for communicating policies and expectations about co-authorship in research-group settings at educational institutions? We will explore these issues in an in-class thought exercise as well.

Nov. 21 (T): Collections and Global Conflict: Natural History Read: 1. Anonymous. 1944. Introduction. Pp. 1-5 in A Field Collector’s Manual in Natural History. The Smithsonian Institution, Washington, D. C. 3. P. M. Henson. 2000. The Smithsonian Goes to War: The Increase and diffusion of Scientific Knowledge in the Pacific. Pp. 27-50 in

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Science and The Pacific War. Science and Survival in the Pacific, 1939-1945. Boston Studies in the Philosophy of Science Volume 207. Kluwer Academic Publishers, Dordrecht, The Netherlands. • Thought questions: Scientists and natural history museums played important and unexpected roles in WWII. These readings should stimulate your thoughts about the role of biological and geological sciences and scientists in WWII. Can you think of broad ethical concerns that emerge from activities such as those discussed in the readings? BDP Connecting Experience Brief Research Proposal Due.

Nov. 23 (Th): Thanksgiving Holiday/No Class

Nov. 28 (T): Collections and Global Conflict: Nazi Art Read: 1. Henry Weinstein, “Woman Seeks Return of Art Seized by Nazis,” Los Angeles Times, August 26, 2000: http://articles.latimes.com/2000/aug/26/local/me-10848 2. Caroline Renold, Alessandro Chechi, Anne Laure Bandle, Marc-André Renold, “Case Six Klimt Paintings – Maria Altmann and Austria,” Platform ArThemis, Art-Law Centre, University of Geneva. PDF available online at https://plone.unige.ch/art-adr/cases-affaires/6-klimt-paintings- 2013-maria-altmann-and-austria 3. Julia Gronnevet, “For Norwegian Museum, a Loss Produces a Gain,” New York Times, September 28, 2015: http://www.nytimes.com/2015/09/29/arts/international/for-norwegian- museum-a-loss-produces-a-gain.html 4. Khorri Atkinson, “Cornyn, Cruz Push for Recovery of Nazi-stolen Artwork,” Texas Tribune, June 7, 2016: https://www.texastribune.org/2016/06/07/cornyn-cruzs-bill-seeks-recover- nazi-stolen-art/ 5. Max Kutner, “Helen Mirren Joins Ted Cruz to Push for Return of Art Stolen by Nazis,” Newsweek, June 7, 2016: http://www.newsweek.com/hear-act-helen-mirren-ted-cruz-holocuast-art- 467643 6. Doreen Carvajal and Alison Smale, “Nazi Art Loot Returned … to Nazis,” New York Times, July 15, 2016: http://www.nytimes.com/2016/07/16/arts/design/nazi-art-loot-returned-to- nazis.html?emc=edit_th_20160716&nl=todaysheadlines&nlid=46561946& _r=0 7. Serge F. Kovaleski, “Ronald Lauder, Advocate of Art Restitution, Says His Museum Holds a Clouded Work,” International New York Times, August 2, 2016: http://www.nytimes.com/2016/08/03/arts/design/ronald-lauder-art- restitution-neue- galerie.html?emc=edit_th_20160803&nl=todaysheadlines&nlid=46561946 &_r=0 8. William D. Cohan, “A Suit over Schiele Drawings Invokes New Law on Nazi-Looted Art,” New York Times, February 28, 2017:

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https://www.nytimes.com/2017/02/27/arts/design/a-suit-over-schiele- drawings-invokes-new-law-on-nazi-looted-art.html?emc=eta1&_r=0

• Thought questions: How has global conflict impacted the collection and ownership of art? What role does the US government play in the aftermath of these conflicts and with regards to museums and private collectors? What should the timeline be for resolving these issues? Who should carry the burden of proof of ownership? Who should pay for any legal proceedings to determine such proof?

Nov. 31 (Th): TBA (HRC Watergate Archive) • Thought questions: How are archives different from other types of collections? What special concerns are associated with their preservation and use?

Dec. 5 (T): Collections and Global Conflict: Guest lecture by Dr. Janice Leoshko, Department of Art and Art History, UT, on the Bamiyan Buddhas of Afghanistan Read: 1. Peruse the UNESCO World Heritage web site: http://whc.unesco.org/. Pay special attention to the tabs/sections of the site devoted to “The List,” “About World Heritage,” “Activities,” and “Partnerships” 2. Janice Leoshko, “On the Buddhist Ruins of Bodh Gaya and Bamiyan.” Third Text 25 (6): 667-674. 4. Jason Farago, “The Ancient Syrian City ISIS is Destroying, Preserved Online, The New York Times, Feb. 15, 2017 https://www.nytimes.com/2017/02/15/arts/design/palmyra-syria- isis.html?_r=0 5. Marlise Simons, “Damaged by War, Syria’s Cultural Sites Rise Anew in France,” The New York Times, Dec. 31, 2016 https://www.nytimes.com/2016/12/31/world/europe/destroyed-by-isis- syrias-cultural-sites-rise-again-in-france.html 6. Peruse the Facebook page for UT’s Antiquities Action Group, led by Dr. Stephennie Mulder, of the Department of Art and Art History and Dr. Rabun Taylor, Department of Classics: https://www.facebook.com/groups/391144767702560/448021448681558/ • Thought questions: Who determines what constitutes “world heritage,” and how are such issues related to global conflict? When should destroyed objects be reconstructed? Or do “ruins,” left as such, tell their own story?

Dec. 7 (Th): Course evaluations, discussion, and final thoughts. Second Reflection Essay due.

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