Abstract Exhibition trophies have become invisible to most people reading about and looking at images of the great world’s fairs. This is not surprising; trophies have fallen out of our awareness because they, and the criticisms they provoked, have received surprisingly little scholarly attention. This article reveals not only this largely overlooked form, but also just how much cultural work they were doing and why so many people found them disturbing. Exhibition trophies became a solution to the nineteenth-century design problem of representing progress, imperial power, extractive superabundance, control of the natural world, and industrial capacity. Nineteenth-century exhibitors and collectors made trophies out of a wide array of commodities, animals, raw materials, manufactured goods, weapons, and “primitive” objects. But by carrying with them ancient connotations of high-minded victory and violence, exhibition trophies also inspired criticisms that got to the heart of modern forms of conquest. Divisive in the middle of the nineteenth century, trophies were ubiquitous by the turn of the twentieth. Meanwhile a new, rival way of displaying imperial power emerged that challenged ethnographic trophies in particular: the new science of anthropology. This article begins to recover this lost form and its implications—from disquiet to the acceptance of abundance (even overabundance) as a collective goal.
Amy Woodson‐Boulton (2025) studied this question.