Cage III presents the apparatus of the museum itself, the vitrine, as a sculptural object of inquiry, exposing it as a form of containment, control that enforces boundaries that distance modern cultures from their heritage and viewers from authentic cultural education. Its explosive destruction aims to instigate an institutional critique of museum apparatuses that enforce White-biased curation that isolates objects from individual narratives and outside cultural contexts. The hegemony of Western museological frames of reference over cultural objects enforces the continuation of cultural dislocation and colonial legacy. In such institutions vitrines exist as a shopfront for colonial control, perpetuating violence and colonial possession over cultural heritage.

Here, the object has broken free from the Western museum’s control in advocacy for museum reform and cultural liberation. The spectacularisation of destruction and the performativity of controlled violence reflects the treatment of colonial histories and modern cultures today. 

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