The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be allegorically coded with the trans-historical consequences of an imperial sociopolitical narrative. Engaging eighteenth-century Mexican casta paintings, the morbid lynching postcards of William Horne, the Treaty of Guadalupe Hidalgo, and Martinez's own family lineage, Museum of the Americas traces an aesthetic out of racialised scenes of corporeal excess. Hybrid in form, Museum of the Americas voices itself in theory, poetry, and creative nonfiction.