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The article suggests that Simon Gush's Red is an installation that projects two intersecting paths for anyone confronting it: the path of history, specifically the history of the freedom struggle in South Africa right up to the present day, and the history of contemporary art. The essay is an effort to articulate this position at a crossroads. I respond to the first path by engaging in an exercise of imaginative reverse-engineering. Red seems to invite the viewer to reflect on its owndoi:10.17159/2309-9585/2016/v42a14 fatcat:innbt5unrjdc5og76k4f7cnj2y