What this Kantian system shirks is the 'labour of the negative' on which the Hegelian dialectic is based, where meaning is a play of opposites. Artefacts are ordered according to a taxonomic grid based on time and space. As Helmet Lueckenhausen has himself noted, these museum practices abstract objects from their cultural context. A boomerang goes in the display of pre-European hunting implements of central Australian Aborigines. In a relativistic age, emphasis has shifted from science to theatre.
Museums now are able to order their collections according to contrasts and comparisons.
The boomerang can now be shown together with a mobile phone as a way of sharpening the colonial division between 'moderns' and 'indigenous'. Before the state museum, collectors would arrange their objects for dramatic effect. 16 th century collectors like the Dutch Bernadus Paludanus housed collections of the world's wonders in theatrically arranged rooms, called Wunderkammer . These rooms featured a cabinet containing a heterogenous display of wonders and monsters. While the Kunstkammer were ostensibly a means to contemplate the wonder of God's handiwork, there were no clear distinctions between the natural and the man-made.