He finds an especially poignant example of this in the collection of American Aboriginal art. While the collection of art and artifacts from these cultures is important, it is not nearly as important for Hill as the discourse that can be brought about in society as a result of these collections. The most valuable attribute of a collection, and the most valuable service of a museum, is the ability to "cause productive trouble" in the form of human conversation and reflection (195). In the case of Aboriginal art, the collection should, if offered sensitively and intelligently, instigate public discourse on the inequities between the honor and respect heaped upon the artifacts of Aboriginal cultures and the neglect and disrespect offered to the cultures themselves.
While Clifford offered a highly analytical examination of the interconnectedness of art and culture, and the value of the art-culture system in understanding collections themselves as artifacts, his system in the end is only a system -- a method for observation, rational understanding, and categorization. Collections for Clifford are a product of culture only, and therefore offer value only to the present and only as a vision of the past.
For Hill, however, collections have the power to be not only a product of culture, but a producer of culture. By stimulating "a lively and potentially untidy public discourse" (194), collections and the museums that house them have the power to shape the society that creates them, beyond just reflecting that society. In this way, Hill's vision of collection is one that takes an active interest not only in the past and present of human endeavors, but in the future as well.
Perhaps Hill would read the poem by Fenton differently than Clifford....
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