LAUSR

the particular engine on display in the museum is not unique. It was, however, made in Scotland and symbolizes the industrialization of Scotland. Bucciantini highlights “the transition from machine to artifact” (80) and “the line between artifact and architecture” (82), since a portion of the museum was built around this enormous and iconic piece of machinery. There is less, however, about the “political undertone[s]” (49) of objects. In short, Exhibiting Scotland raises interesting issues but is unfortunately as convoluted as the history that it traces. There is clearly a “connection between national museums and the production of national narratives” (3), although the process by which this takes place is underexplored. Perhaps part of the problem is that the development of Scotland’s national narrative has itself been halting, complicated, and remains incomplete.