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perspective on this same issue of the relationship between curator and artist. It differs however from the critique by Buren in its form; resistance is practiced through the consummate 68 Curating Contemporary Music Festivals construction of an exhibition within an exhibition, a parody of Szeemann’s con- cept. The Departement des Aigles, Section Publicité consisted of an exhibition showing the use of the eagle in advertising. Significantly, this artist-as-curator’s exhibition in the exhibition was reminiscent of 19th century exhibitions and ethnological dis- play cabinets