194THE ALLURE OF THE VENEERcollisions between objects (cotton being burned by fire, for instance) “must
be treated in exactly the same way as human perceptions, even if the lat-
ter are obviously more complicated forms of relation.”^4 But for as much as
this position might appeal to current critiques of anthropocentrism, it
is worth noting that its productivities might be limited. Attempting to
conceive of things in themselves, might not propose posthumanist produc-
tivities after all, especially when human/animal relationships are involved.
One of the most striking aspects of Agrimiká is in fact the juxtaposition
of objects that vehemently seem to resist Harman’s attempt to devise a flat
ontology—tools lie on tables next to books, magazines, postcards, tins, and
so forth (fig. 6.2). Objects are gathered in seemingly spontaneous tableaux
or assemblages that enhance the variety of material specificity. But most
importantly, in a world of objects, for Harman, animals simply are an-
other kind of object, one that responds and functions according to the
same metaphysical rules of all others.
Next to man-made objects of all kinds, in Agrimiká are animal skins.
Some of them are flattened and hang on the walls, side by side. Others
FIGURE 6.2 Maria Papadimitriou, Agrimiká, 2015. Courtesy T.A.M.A. (Temporary
Autonomous Museum for All) and the artist.