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GALLERY CXV
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GALLERY CXV
The Painted Cave
Art is evidence of minds imagining what is not in front of them.
ON THE FLOOR
Charles Horton Cooley
Theorist designate - flagged from the theory registry (#8494)
“You learned who you are by watching what other people reflected back at you. The mirror, it turns out, was people all along.”
ON THE FLOOR
Edward Soja
Theorist designate - flagged from the theory registry (#8494)
“Space is not the stage the story happens on - it is one of the actors. Ask WHERE, and half the mystery answers itself.”
ON THE FLOOR
George Herbert Mead
Theorist designate - flagged from the theory registry (#8494)
“The self is a conversation: the I speaking, the Me listening with everyone else's ears. You rehearse society every time you think.”
BH3-031 · The Painted Cave — Open the drawer
Art is evidence of minds imagining what is not in front of them.
BH3-032 · The Painted Cave — What is this thing?
Art is evidence of minds imagining what is not in front of them.
BH3-033 · The Painted Cave — Read the source
Art is evidence of minds imagining what is not in front of them.
BH3-034 · The Painted Cave — Map it / time it
Art is evidence of minds imagining what is not in front of them.
BH3-035 · The Painted Cave — Two sources disagree
Art is evidence of minds imagining what is not in front of them.
BH3-036 · The Painted Cave — State the claim
Art is evidence of minds imagining what is not in front of them.
BH3-037 · The Painted Cave — Take the other side
Art is evidence of minds imagining what is not in front of them.
BH3-038 · The Painted Cave — Weigh it
Art is evidence of minds imagining what is not in front of them.
BH3-039 · The Painted Cave — Build the answer
Art is evidence of minds imagining what is not in front of them.
BH3-040 · The Painted Cave — For the file
Art is evidence of minds imagining what is not in front of them.
BH3-041 · The Painted Cave — Go and look
Art is evidence of minds imagining what is not in front of them.
BH3-042 · The Painted Cave — Now, today
Art is evidence of minds imagining what is not in front of them.
BH3-043 · The Painted Cave — Teach it back
Art is evidence of minds imagining what is not in front of them.
BH3-044 · The Painted Cave — The other place
Art is evidence of minds imagining what is not in front of them.
BH3-045 · The Painted Cave — One object, close
Art is evidence of minds imagining what is not in front of them.
From the gallery’s own wall — “BH3-031 · The Painted Cave — Open the drawer”.
🎧 A moment to consider
What will you carry out of this room?
← EXIT TO
Gallery CXIV · The Language Leap
EXIT TO →
Gallery CXVI · The Long Migration
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🗺 POCKET MAP
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Galleries
▲
I
Fire and the Forest
II
The First Surplus
III
Water and Power
IV
The Domesticated Animal
V
The First Village
VI
The Metal That Mattered
VII
The Grain Empire
VIII
Roads and Rivers
IX
The Silk Corridor
X
The Monsoon Bargain
XI
Why Rome Thinned
XII
The Classical City
XIII
The Maize Bargain
XIV
Terrace and Milpa
XV
The City in the Lake
XVI
The Classic Maya Question
XVII
Reading the Sky
XVIII
A Hemisphere Without Horses
XIX
The Heavy Plough
XX
The Black Death
XXI
The Caravan World
XXII
The Rice Revolution
XXIII
Wood and the Wall
XXIV
The Little Ice Age
XXV
The Columbian Exchange
XXVI
The Sugar Island
XXVII
The Silver Mountain
XXVIII
The Wind That Made Empires
XXIX
Fur, Fish and Frontier
XXX
The First Global City
XXXI
The Walking City
XXXII
Coal and the Clock
XXXIII
Going Up
Rural Businesses
XXXIV
The Cooled Room
The Gerrymander
The Income Pyramid
XXXV
The New Mills
XXXVI
The Company and the Charter
XXXVII
The Meeting Ground
XXXVIII
The Company Town
XXXIX
The Town and the Common
XL
The Invisible Arrival
XLI
The Consumer Revolution
XLII
The Argument in Print
XLIII
Who Was the Revolution For?
XLIV
The Machine of Compromise
XLV
The Grid Goes West
XLVI
The Port City
XLVII
The War Itself
XLVIII
The First Party Fight
XLIX
Removal
L
The Factory Girls
LI
The House Divided
LII
Reconstruction and Its Undoing
LIII
The Chosen Nation
LIV
The Tenement and the Terrace
LV
The Immigrant Ledger
LVI
The Machine and the Ward
LVII
Why Buildings Rise
LVIII
The Reservation and the Allotment
LIX
The Federal Blueprint
LX
The Arsenal
LXI
The Subsidised Suburb
LXII
The Second Great Migration
LXIII
The Movement in the Street
LXIV
The Bomb
LXV
The Factory Closes
LXVI
The Return Downtown
LXVII
The Sunbelt Bargain
LXVIII
The Worked Continent
LXIX
The Hero and the Record
LXX
The Reform Photograph
LXXI
The Great Upheaval
LXXII
The Cotton Engine
LXXIII
The Corps of Discovery
LXXIV
The Republican Experiment
LXXV
Who Counts?
LXXVI
The Canal and the Rail
LXXVII
The Edsel
LXXVIII
The Transcontinental
LXXIX
The Crash and the Line
LXXX
The Census
LXXXI
The Tower Again
LXXXII
The Screen and the Square
LXXXIII
The Literary Digest Poll
LXXXIV
Urban Renewal
LXXXV
The Hardening Line
LXXXVI
The Population Bomb
LXXXVII
New Coke
LXXXVIII
Galloping Gertie
LXXXIX
The Question
XC
The Index
XCI
The Map
XCII
The Poverty Line
XCIII
The Normal
XCIV
The Hawthorne Works
XCV
Prohibition
XCVI
Moving to Opportunity
XCVII
The Obedience Studies
XCVIII
The Minimum Wage Fight
XCIX
After the Towers
C
The Sword Rack at the Door
CI
The First Light
CII
The Forge of Stars
CIII
The Rocky Ledger
CIV
The Goldilocks Band
CV
The Moon's Receipt
CVI
The Deep Clock
CVII
The Living Spark
CVIII
The Oxygen Revolution
CIX
The Drifting Map
CX
The Great Dyings
CXI
The Mammal's Wager
CXII
The Grasslands Bargain
CXIII
The Fire Keeper
CXIV
The Language Leap
CXV
The Painted Cave
◄ YOU ARE HERE
CXVI
The Long Migration
CXVII
The Dog at the Fire
CXVIII
The Ice Corridor
CXIX
The Seed Contract
CXX
The Village Ledger
CXXI
The Writing Debt
CXXII
The City Threshold
CXXIII
The Metal and the Market
CXXIV
The Plague Network
CXXV
The Ocean Bridge
CXXVI
The Silver Circuit
CXXVII
The Machine Threshold
CXXVIII
The Energy Bonanza
CXXIX
The Population Curve
CXXX
The Telegraph World
CXXXI
The Great Acceleration
CXXXII
The Carbon Ledger
CXXXIII
The Information Threshold
CXXXIV
The Genome Drawer
CXXXV
The Anthropocene Question
CXXXVI
The Next Threshold
CXXXVII
The Town Meeting
CXXXVIII
The Common and the Fence
CXXXIX
The Sheriff and the Jury
CXL
The School Board
CXLI
The Charter
CXLII
The Petition
CXLIII
The Property Line
CXLIV
The Ballot Box
CXLV
The Ward Machine
CXLVI
The Suffrage March
CXLVII
The Poll Tax Receipt
CXLVIII
The Recount
CXLIX
The King's Two Bodies
CL
The Parliament
CLI
The Republic's Blueprint
CLII
The Federation Question
CLIII
The One-Party State
CLIV
The Referendum
CLV
Marbury's Desk
CLVI
The Fourteenth Amendment
CLVII
Separate and Unequal
CLVIII
The Warren Bench
CLIX
The Commerce Clause
CLX
The Dissent
CLXI
The Zoning Map
CLXII
The Boss's Ledger
CLXIII
The Bond Issue
CLXIV
The Police Power
CLXV
The Annexation Fight
CLXVI
The Renewal Bulldozer
CLXVII
The Treaty Table
CLXVIII
The Embassy
CLXIX
The Blockade
CLXX
The Alliance
CLXXI
The Assembly Floor
CLXXII
The Trade War
CLXXIII
The Question-Mark Tracks
Emblematic Films — The Decade Panels
The Government Lounge
Rogues, Ruffians, and Rascals
The Processing Hall — The Dairy Wing
The Creamery — The Second Wing
The Civil Rights Movement 1945–1975
The American Indian
The Gallery of Man
The Sobering Rooms
The Teaching Ward
The Pharmacology Cabinet
The Pathology Gallery
The Epidemiology Map Room
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