Bristol Museum & Art Gallery was built in 1905 to display the world as the British Empire understood it. Its geology collection was assembled by the scientists who formalised European classification. Its Eastern art was acquired through colonial trade networks. Its natural history specimens arrived as trophies of imperial expeditions. The building, its architecture, its collections, and its systems of naming were designed to produce and enforce a colonial worldview, and for over a century they did exactly that. The institution is now in the process of undoing that programming. Behind the public galleries, in conservation studios, geology stores, and archive basements, a small number of curators, conservators, and archivists are rewriting labels, consulting source communities, and revising the language through which the collection presents itself. The work is slow, underfunded, and largely invisible to the visitor who walks through the front door. Photography was one of the instruments of that same colonial project. It classified, surveilled, and fixed the colonised world in place for the European viewer. The project intends to turn back this inherently colonial medium to preserve the moment this building is in, between what it was built to do and what it is trying to become.