Khalil Rabah’s conceptual installations often use local materials, traditions and politics, but in doing so they go beyond national and geographical boundaries.  His on-going project, The Palestinian Museum of Natural History and Humankind locates itself within a mythical, psychic space that fuses ground art and the dematerialisation of the art object in order to question knowledge formation in the context of colonisation. The Museum parodies existing national cultural institutions and museums, through its acquisitions policy, its roll-call of experts and its arbitrary but emphatic declarations of facts.  At the same time, it possesses a savage political undercurrent that manifests itself in projects such as the 3rd Annual Wall Zone Sale, which took place at the Sakikini Cultural Centre in Ramallah in March 2004.  By auctioning off lots of material from around the wall zone, Rabah lobbied awareness of the social and ecological implications of the 120-km separation wall that Israel is currently building around the West Bank.