The work seduces with its commodification of pleasure and its instant iconography (palm, desert, sky), so omnipresent in overall consumer culture. This promise of heaven disrobed of the clandestine is linked to all-inclusive destinations, fast solutions, momentary pleasures and false promises of love charged with the desire to be true. Ivana Ivković’s generic presentation of the apotheosis of seduction places constructed spaces of enticement on the same plane: the museum and Africa as Other/Otherness. We may walk through her portal of desire, hopes and expectations unobstructed, if we move the screen.

Saša Tkačenko’s work stems from the vocabulary of vacuum and positions itself precisely upon memory built on forgetting. Scratched/incised words at the intersection of language and sight are deliberately inconspicuous. The artist inscribes his work on the architecture of the MAA (glass in the hallway) evoking witness marks – witnesses to the passing of time, possible reparations and that we may read a museum also as a lavish inventory of all kinds of cracks. With reductive artistic act, position and inscription, Tkačenko consistently works on his artistic practice and re-opens themes of temporality and atemporality, visibility and abandon of the representative, symbolic and ideological meanings of the museum.

Tkačenko deals with the outside-inside and accessible-inaccessible relations also in the second segment of his intervention, which is set in an architecturally equally sensitive place – the interior of the MAA dome. There he displays an invisible and inaccessible flag, formed by the rotation of a chart showing the statistics of the world population living in extreme poverty, thus pointing to the indifference of modern man. On the other hand, by exhibiting in the space created after years of neglecting the fragility and vulnerability of the MAA building, on a semantic level, this intervention joins the ephemeral writing on the glass, testifying to the “nature” of concern and fear for cultural institutions in our country.

The film by Milica Rakić titled Non-Aligned is presented in a rather dark area of the MAA permanent display where, and due to the artist’s involvement, the museum space loses its institutional light. In the film which is heavily musically layered, more do than than following a narrative, the artist amalgamates the private and public biographies of Zdravko Pečar and Veda Zagorac, cultivating the observation about the MAA vernacular in which by unpacking the Pečar archive one comes across a detailed cross-section of the lives of two people. In using fragments from the lover’s discoursebetween Dragan Nikolić and Milena Dravić about their love, by writing over archival materials, Rakić indicates the phenomena of remembering and forgetting within the binary male-female pair.

By way of creating a fluid, site-specific installation that includes the video On Tools and Weapons, Siniša Ilić marks the permanent display of the MAA as a time capsule through the interpolation of used museum plinths. As part of the permanent display, Ilić’s installation is an unexpected excursus from museum discourse stasis and its certainty of temples, which de-fetishises its aura and belief in its longevity. Torn away, alienated from their function, the old plinths in Ilić's abstract sculpture, although non-objective, are eloquent and brimming with the passage of time. By displaying within a display, the artist conjoins and emphasises the temporality of MAA’s emblems by adding transient to the transient, i.e. by accentuating the limited life span of the historical museum discourse.

Similar to the notions she is developing in her ongoing work Theme Park, Ana Adamović recognises here in the tourist experience of the MAA founders the phantasms of the white traveller and the multilayered conquering of Otherness within an African landscape, placing emphasis, according to the artist, on the deep-rooted nature of such tourist collecting of Africa. In dialogue with the museum archive, the work repeats the documentation register number, its zero becoming a segment that is missing – in the documentation records literally, on the permanent display, metaphorically. By taking note of Zdravko and Veda Pečar’s use of the film camera, Adamović presents the afore described image of Africa within the custom-made emblematic plinths of the MAA permanent display. Placed between the rows, between collected objects, the moving image observed in two planes and through tight 8 mm slits (in the plinths) is simultaneously caught and musealised. By moving the picture from an archival, private framework to a museum one, Adamović onsets a polemic with the MAA permanent display, provoking thought on collecting as hunting for objects.

The floor graphic, titled Passage melds the form and function of the Senufo people's filafani cloth. On a formal level, Kelečević distorts discipline in the expression present in the visual solution of the aforementioned cloths and masses of animal and human figures onto a “musealized” green-blue background. On a functional level, Kelečević indicates the multifaceted transfer of a museum object’s function, from “authentic” cloth for initiation, burial ceremony and as hunting amulet-/protective-clothing, to tourist object, a hybrid from the town of Korhogo also used to decorate the walls of hotels. By condensing the history of this object’s legacy into a single work-intervention, Kelečević creates a contemporary object of usage, typical nowadays in shopping malls and cinema complexes, thus opening the door to thinking about the “authenticity” of the so-called African object and its museum aura.