State officials, between 1882 and 1888, exchanged three million acres of Texas Panhandle property for construction of the monumental Capitol that continues to house Texas government today. The project and the land went to a Chicago syndicate led by men influential in business and politics. The red granite Austin State House is a recognizable symbol of Texas around the world. So too, the massive tract given in exchange for the building, what became the "fabulous" XIT Ranch, also has come to symbolize the height of the nineteenth century cattle industry. That eastern and foreign capital dominated the cattle business during this period is lesser known, absorbed by the mythology built around the Texas cattle-trail period - all but at an end in 1885. This study examines the interaction of Illinois Republicans and Texas Democrats in their actions and efforts to create what have become two of Texas's most treasured symbols.

This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way …