Wednesday morning, I woke up early to drive up to the Carleton University Art Gallery in Ottawa, Canada–a 3+hour drive in good conditions. Luckily, the weather cooperated and I made good time. I even managed to make it through border control without a passport–flaky me forgot it at home. The art gallery was my dream archive. I drove up with the intention of seeing five of Carl Beam’s images that the gallery had exhibited in a virtual exhibition I saw on-line. When I got there, however, I found out the gallery had close to 85 of Beam’s images plus a large folder filled with exhibition catalogues, many of which I had tried to access from other galleries via email, newspaper articles, on-line articles, etc. about Beam’s work. It was amazing. My experience at the gallery was much like going to the other archives I have been to, yet without all the rules and regulations that make me feel uncomfortable. Essentially, one of the curators placed me in a private room with a set of white gloves and a large table, where I could plug in my lap top. Originally, I was given the five images I requested to see, but then as I started to explain my project with the curator, he told me they had 85 of Beam’s images that I might want to see. I, of course, said yes, so the curator slowly pulled out various images that ranged both in size, content, and media and eventually brought me the folder of textual material on Beam that he just happened to come across as he was poking around in their storage space. He even made copies of the texts for me as I perused the images and took notes. Needless, to say, I spent the entire day at the gallery. Looking at such a large body of Beam’s work gave me a real sense of what Beam was up to. My husband asked me if I was as moved by Beam’s work in person as I had been when I first came upon his images on the Internet. My response to Beam’s work was more intellectual than emotional. Beam’s work challenges you to think and make sense of the icons, indices, and symbols he uses to create messages through his art. When I returned home from Canada, I spent much of the night perusing the textual material I came home with. One article notes that Beam says is not trying to create beautiful work. He wants viewers to think deeply about the political and social messages he creates through montage, collage, juxtaposition, irony, repetition, amplification, omission, and even through is handwritten messages found painted on many of his canvasses. I agree and think Beam succeeds. I am not sure it is possible to walk away from Beam’s work without having been provoked to think more deeply about how master narratives of history have been told, how linear thinking and “Western” logic and science has benefited some and disadvantaged others, and how technology is a culprit in environmental destruction. I look forward to working closely on this project in the upcoming weeks. Also, in terms of methods, I think I will “do historiography” as Enos challenges us to do as well as practice rhetorical criticism. I want to demonstrate how Beam rewrites history through his art and uses both discursive and non-discursive rhetoric to trigger cultural memories and make logical and emotional appeals. I plan to situate his art in what Powell and others have identified as trickster rhetorics as well as modern conceptions of epideictic rhetoric. Therefore, genre analysis will play a major part of my rhetorical analysis, I think….