Another section of the installation appropriated Picassos’ Les Demoiselles d’Avignon. Aware that Picasso had been inspired by ethnographic collections and tribal masks from ‘primitive’ cultures when making Les Demoiselles d’Avignon, Wilson adorned some of the nudes with tribal masks and when viewers peered through the cut out eyes they were met with the eyes of two Senegalese people and Wilson himself on a videotape asking questions such as “if my contemporary art is your traditional art, is my art your cliché?”3
Wilson's work at the Maryland Historical Society was as much about exposing the Eurocentric structure of museums as it was a healing process for all of those affected by their history being concealed. In a form of conclusion Wilson states
“Museums are afraid of what they will bring to the surface and how people will feel about certain issues that are long buried. They keep it buried, as if it doesn’t exist, as though people aren’t feeling these things anyway, instead of opening that sore and cleaning it out so it can heal.”4