The distinction between memory and history is subtle, often ephemeral, and rarely considered except at the moments when their invisible forms collide in material representation. Conflict over representation is nothing new, but almost always seems to occur when collective memories come into contact, calling a present vision of the past into question in a way that makes obvious that it is the future that is somehow at stake. No cultural form seems immune to questions about content and ideology, but museums seem particularly ripe for the picking. Unlike films, novels, and artwork, for example, museums carry with them the expectation of historical accuracy, the belief that truthful representation of “reality” is possible. As the postmodern realization that it is the present that contains both past and future has sunk in, claims on knowledge associated with museums have been called into question. As Pierre Nora proposes, with the loss of history, we have only memory left. This memory, like history, is collective in its nature, yet replaces tradition and ritual with representation in all its varied forms. In this context, it seems only natural that conflicts over representation frequently have as subtext questions about power, ideology and group identity. Further, it seems only natural that these conflicts tend to play out as struggles for control of and access to narratives.