Abstract Quantitative measures of relative representations of gender and minoritised persons provide stark evidence of the continuing inequalities in museums. Understanding and opposing such inequalities requires an account of museums that recognises their role in inscribing hierarchies associated with the modern nation state and its concept of citizenship. Benedict Anderson’s identification of the museum as one of the technologies of nation building in Imagined Communities (1983) is combined with M. Jacqui Alexander’s account of gender, sexuality, race, and the modern state in Pedagogies of Crossing (2005) to generate an understanding of the museum as a structure for establishing gender, sexual, and racial norms associated with modernity. This function is expressed in the museum’s work of collecting, classifying, and exhibiting or spectacularising objects. The potential for disrupting these structures is explored in two recent examples of museum practice in the UK: artist Sonia Boyce’s Manchester Art Gallery Takeover in 2018 and the Museum of Transology, 2017-present. The roles of museum staff and visitors are considered also in relation to the classifying and ordering activities of the museum and the possibility that disordering such structures will enable the museum to become a producer of more equal social relations.

中文翻译：

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令人不安的性别、性和种族：“跨越”博物馆的收藏、分类和壮观机制

摘要 对性别和少数民族的相对代表性的定量测量为博物馆中持续存在的不平等提供了鲜明的证据。理解和反对这种不平等需要对博物馆的描述，承认它们在刻录与现代民族国家及其公民概念相关的等级制度方面的作用。本尼迪克特·安德森 (Benedict Anderson) 在《想象的社区》(1983) 中将博物馆认定为国家建设技术之一，并结合 M. Jacqui Alexander 在《穿越教育学》(2005) 中对性别、性、种族和现代国家的描述，以产生一种理解博物馆作为建立与现代性相关的性别、性和种族规范的结构。这一功能体现在博物馆的收藏、分类、和展示或壮观的物体。最近在英国博物馆实践的两个例子中探讨了破坏这些结构的可能性：艺术家索尼娅博伊斯于 2018 年接管曼彻斯特美术馆，以及 2017 年至今的Transology 博物馆。博物馆工作人员和参观者的角色也与博物馆的分类和排序活动以及这种结构的无序化将使博物馆成为更平等社会关系的生产者的可能性有关。