Nigeria to his memory of it is the product of his experience of displacement. An even more radical questioning of the preservation the past was the intervention by Keith Piper, whose 'Lost Vitrines' contained objects that could be mistaken for historical documents, such as the book 'The Coloureds' Codex. An Overseer's Guide to Comparative Complexion' and 'Miss Mary's Micro-Resistance Tool Kit', a box containing bottles and a manual instructing slaves on how to collect various bodily substances and use them surreptitiously against their masters. The latter may be less plausible than the former as an actual historical object but the point Piper made concerns the museological narrative as a convenient fiction with which an artist can interfere. The implausibility of the micro-resistance tool kit is less to do with whether such an object could have existed or not but the way it fits our understanding of the museum collection. It grants a form of agency to enslaved people that challenges the ways they are normally represented. Very little of 'Uncomfortable Truths' conformed to the traditional iconography of the slave trade, such as images of shackles, brutality or even the Middle Passage. It carefully avoided the pitfalls of aestheticising white violence against black people. Many of the exhibits were highly attractive visually but also very subtle. Lubaina Himid's 'Naming the Money' (2004), a series of sixteen cut out figures of black slave-servants, mimicked objects that can still occasionally be found in European houses as echoes of times when such figures were