shoplifting detection difficult. This old leather suitcase was almost identical in design to the one used in Tokyo, but there were no British names, no evocation of the Raj on its label, which showed it to be of Japanese manufacture. Placed in this receptacle, do the worn images now evoke memories of Japan's colonial adventures? How can we fix the meaning of Yamamoto's piece if we cannot fix its form? How do we frame questions of globalization in ways adequate to art's shape-shifting migration from one locale to the next?