Tangible traces of conflict in visual artefacts can take viewers uncomfortably close to the realities of war—violence, destruction and fatalities. This article questions the evidential force of objects associated with conflict and their eventual display in exhibitions. Through a study of the display of a brick in which is embedded a bullet that is said to have passed through the body of Francis Sheehy Skeffington when he was executed by firing squad during the Easter Rising in Dublin in 1916, this article explores the historical configuration of the brick and analyses its public display in the National Museum of Ireland (NMI). By examining the actions carried out by the NMI in collecting and archiving the object and analysing the narrative strategies of its display, this article considers how the visual aspects of exhibition displays can perpetuate a particular version of historic events and accredits objects with assumed authenticity.

中文翻译：

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砖中的子弹：博物馆藏品冲突的重要性

视觉制品中明显的冲突痕迹会让观众不舒服地接近战争的现实——暴力、破坏和死亡。本文质疑与冲突相关的物品的证据力以及它们最终在展览中的展示。1916 年都柏林复活节起义期间，弗朗西斯·谢伊·斯克芬顿 (Francis Sheehy Skeffington) 被行刑队处决时，通过对一块砖块的展示进行研究，该子弹据说穿过了他的身体砖，并分析其在爱尔兰国家博物馆 (NMI) 的公开展示。通过检查 NMI​​ 在收集和存档对象方面采取的行动，并分析其展示的叙事策略，