While most other museums haven't yet started encouraging visitors to pet the specimens, countless other examples show specimens in partial stages of reanimation. The natural history section of the Tasmanian Museum and Art Gallery in Hobart, Australia, for instance, discloses the steps of preserving ornithological specimens in a vitrine presenting birds in various stages of preparation. A less classical strategy was devised by Kees Moelicker, Director at the Rotterdam Natuurhistorisch Museum, where windows onto an inner courtyard reveal the curious sight of animal skeletons recklessly strewn about as if they were leftovers from some ruthless carnivorous feast. Partly decayed and covered in a layer of green moss, these unwanted bones of deceased zoo animals are more living than the toxified taxidermy animals simulating aliveness in the interior galleries. At first glance, one might expect that such revelations would undermine the “reality effect” of their correlative reanimated objects, but surprisingly the opposite is the case – the completed, glassy-eyed reconstructions become even more convincing through this necroaesthetic sequencing.²