29. Lisa DeLeonardis, “The Body Context: Interpreting Early Nasca 40. The Museum generally does not acquire an antiquity unless Decapitated Burials,” Latin American Antiquity 11, no. 4 (December provenance research substantiates that the work was outside its 2000), pp. 363–86; Conlee, “Decapitation and Rebirth,” pp. 438–45. country of probable modern discovery before 1970 or was legally 30. For instance, the portrait head in The Met collection (82.1.28) can exported from its probable country of modern discovery after 1970. be compared with a similar one in the Museo Central-BCRP, Lima For more on The Met’s policies, see The Metropolitan Museum of (ACE-0906), or another in the Museo Larco, Lima (ML013550). Art, Collections Management Policy, September 13, 2022, https:// 31. Christopher B. Donnan, Moche Portraits from Ancient Peru (Austin: www.metmuseum.org/-/media/昀椀les/about-the-met/policies- University of Texas Press, 2004), pp. 141–59. and-documents/collections-management-policy/Collections- 32. Mary Weismantel, “Many Heads Are Better than One: Mortuary Management-Policy.pdf. Practice and Ceramic Art in Moche Society,” in Living with the Dead 41. Joanne Pillsbury, ed., Past Presented: Archaeological Illustration and in the Andes, edited by Izumi Shimada and James L. Fitzsimmons the Ancient Americas, Dumbarton Oaks Pre-Columbian Symposia & (Tucson: The University of Arizona Press, 2015), pp. 76–100. Colloquia (Washington, D.C.: Dumbarton Oaks Research Library and 33. Joanne Pillsbury, “Moche Portrait Vessels,” in Heilbrunn Timeline Collection, 2012). of Art History (New York: The Metropolitan Museum of Art, 42. Natalia Majluf, “‘Ce n’est pas le Pérou,’ or, the Failure of 2000– ), http://www.metmuseum.org/toah/hd/mphv/hd_mphv.htm Authenticity: Marginal Cosmopolitans at the Paris Universal (accessed September 2021). Severed heads with ropes through the Exhibition of 1855,” Critical Inquiry 23, no. 4 (Summer 1997), pp. crania are sometimes referred to as “trophy heads.” 875–89; Natalia Majluf, Inventing Indigenism: Francisco Laso’s Image 34. Lisa Trever, “A Moche Riddle in Clay: Object Knowledge and Art of Modern Peru (Austin: University of Texas Press, 2021). Work in Ancient Peru,” The Art Bulletin 101, no. 4 (December 2019), 43. Gauguin’s maternal grandmother was the French-Peruvian socialist pp. 18–38. writer Flora Tristan. 35. Joanne Pillsbury and Lisa Trever, “The King, the Bishop, and the 44. Paul Gauguin, Le Pouldu, to Theo van Gogh, November 20 or 21, Creation of an American Antiquity,” Ñawpa Pacha 29 (2008), pp. 1889, in Gauguin by Himself, edited by Belinda Thomson (Boston: 191–219; Lisa Trever and Joanne Pillsbury, “Martínez Compañón and Little, Brown and Company, 1993), p. 111. See also Theo van Gogh to His Illustrated ‘Museum,’” in Collecting across Cultures: Material Vincent van Gogh, December 22, 1889, in Belinda Thomson, “Paul Exchanges in the Early Modern Atlantic World, edited by Daniela Gauguin: Navigating the Myth,” in Gauguin: Maker of Myth, by Bleichmar and Peter C. Mancall (Philadelphia: University of Belinda Thomson et al., exh. cat. (London: Tate Publishing, 2010), Pennsylvania Press, 2011), pp. 236–53, 325–32, pls. 9–10. pp. 12, 229n8. 36. The earliest works of Peruvian ceramics to enter The Met (but later 45. Dario Gamboni, “Animation and Personhood: Gauguin’s Still Lifes deaccessioned) were acquired by Walton W. Evans, who worked on as Portraits,” in Gauguin: Portraits, by Cornelia Homburg et al., exh. the Arica-to-Tacna railroad in southern Peru. cat. (Ottawa: National Gallery of Canada; London: National Gallery, 37. Stefanie G愃ࠀnger, Relics of the Past: The Collecting and Study of 2019), pp. 197–225, esp. p. 202. Pre-Columbian Antiquities in Peru and Chile, 1837–1911 (Oxford 46. For an interview with the artist discussing these themes, see Rodrigo and New York: Oxford University Press, 2014), pp. 101–59. See also Quijano, “Juan Javier Salazar: La realidad entera está en llamas,” Joanne Pillsbury, “Finding the Ancient in the Andes: Archaeology Artishock: Revista de arte contempor愃Āneo (January 20, 2018), https:// and Geology, 1850–1890,” in Nature and Antiquities: The Making artishockrevista.com/2018/01/20/juan-javier-salazar/. of Archaeology in the Americas, edited by Philip L. Kohl, Irina 47. Emilio Tarazona, “Droughts, Precipitation, Over昀氀ows . . . : Aspects of Podgorny, and Stefanie G愃ࠀnger (Tucson: University of Arizona Press, the Work of Juan Javier Salazar Seen Vis-à-Vis Climate Change and 2014), pp. 47–68. Socioeconomic Change in Contemporary Peru,” in Sur, sur, sur, sur/ 38. Beatrix Ho昀昀mann, “Wilhelm Gretzer and His Collection of Peruvian South, South, South, South: Séptimo Simposio Internacional de Teoría Antiquities at the Ethnological Museum in Berlin,” in PreColumbian y Arte Contempor愃Āneo, edited by Cuauhtémoc Medina, SITAC 7 Textiles in the Ethnological Museum in Berlin, edited by Lena (Mexico City: Patronato de Arte Contemporáneo, 2010), pp. 128–47. Bjerregaard and Torben Huss (Lincoln, Neb.: Zea Books, 2017), See also Salazar’s action Perú Express (2002), for which he distrib- pp. 8–14. uted stu昀昀ed toys in the shape of the country to riders on city buses 39. Joanne Pillsbury, “Aztecs in the Empire City: ‘The People without on July 28, Peru’s annual independence day; “Juan Javier Salazar History’ in The Met,” Metropolitan Museum Journal 56 (2021), (1955–2016) Perú Express: El intento 昀椀nal de un artista por entender pp. 12–31. al Perú,” La Mula TV (November 1, 2016), https://www.youtube .com/watch?v=FtBPoGuHxIg.