In 2011, “What’s Cooking, Uncle Sam? The Government’s Effect on the American Diet” (WCUS) was exhibited at the Lawrence F. O’Brien Gallery of the National Archives Building in Washington, DC. Afterward, it toured the country, visiting the Centers for Disease Control and Prevention’s (CDC) David J. Sencer Museum in Atlanta, the National Constitution Center in Philadelphia, and the Kansas Museum of History in Topeka. The exhibition website states that WCUS was “made possible” by candy corporation Mars, Incorporated. WCUS featured over a 100 artifacts tracing “the Government’s effect on what Americans eat.” Divided into four thematic sections (Farm, Factory, Kitchen, and Table), WCUS moves from agrarianism, through industrial food production and into mess halls, cafeterias, and individual kitchens. Photos, documents, news clippings, and colorful propaganda posters portray the government as a benevolent supporter of agriculture, feeder of soldiers and children, and protector of consumer health and safety. Visitors are positioned as citizens in an ideological mélange of paternalism and patriotism. In this rhetorical walk-through of the exhibition, we consider the display of archival materials for purposes of positioning, in consideration of past and present issues of diet and governance. Making explicit unstated assumptions, we claim that, although propagandistic artifacts take on different meanings to those viewing them decades later as memorabilia, they maintain their ideological flavor.

2011年，“山姆大叔在做些什么？“政府对美国饮食的影响”（WCUS）在华盛顿特区国家档案馆的劳伦斯·奥布莱恩画廊展出。之后，它参观了该国，参观了位于亚特兰大的疾病控制和预防中心（CDC）的David J. Sencer博物馆，费城的国家宪法中心以及托皮卡的堪萨斯历史博物馆。展览网站指出，WCUS是由糖果公司Mars，Incorporated“实现”的。WCUS展示了100多件文物，描绘了“政府对美国人饮食的影响”。WCUS分为四个主题部分（农场，工厂，厨房和桌子），从农业主义转变为工业食品生产，进入食堂，自助餐厅和独立厨房。照片，文件，新闻剪报，丰富多彩的宣传海报将政府描绘成农业的慈善支持者，士兵和儿童的馈送者以及消费者健康和安全的保护者。访客在家长式和爱国主义的意识形态混合物中被定位为公民。在这次展览的夸张演练中，我们考虑到了过去和现在的饮食和管理问题，着眼于定位的档案材料的展示。做出明确的未阐明的假设，我们声称，尽管宣传作品与几十年后将其视为纪念品的人们具有不同的含义，但它们仍保持着意识形态的味道。访客在家长式和爱国主义的意识形态混合物中被定位为公民。在这次展览的夸张演练中，我们考虑到了过去和现在的饮食和管理问题，着眼于定位的目的来展示档案材料。做出明确的未阐明的假设，我们声称，尽管宣传作品与几十年后将其视为纪念品的人们具有不同的含义，但它们仍保持着意识形态的味道。访客在家长式和爱国主义的意识形态混合物中被定位为公民。在这次展览的夸张演练中，我们考虑到了过去和现在的饮食和管理问题，着眼于定位的目的来展示档案材料。做出明确的未阐明的假设，我们声称，尽管宣传作品与几十年后将其视为纪念品的人们具有不同的含义，但它们仍保持着意识形态的味道。