Vergara employs a complex process to photograph museum dioramas at the American Museum of Natural History, New York, among other institutions, which she then digitally manipulates. Vergara explores artificiality: nature transformed into diorama and offered, behind glass, for intellectual delectation. She also plays on the ide of photography as a tool of manifest destiny, ideologically implicated in domination and control of nature. Is this “world tour” comprised of real views, or constructed ones?
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