On April 6 Paul Apodaca wrote in reference to Hank Burchard's thoughts on credits in exhibitions.: "The museum does not have to be the house of a thousand stars of museology.= " The point, I think, is not to create stars, but to unpack for the public the processes we go through in selecting objects and interpreting them. The subjectivity and point of view of our choices is an important part of understanding our exhibitions. Too many Museum viewers accept exhibitions as having fallen out of the sky complete in the only form possible, after curating by the Lord. At the Southeast Museum of Photography, our policy is to identify every writer of texts by name, and to credit staff involved in putting a show together. Our practice is often also to address which objects were not chosen for exhibition and why,and, when considering photography in popular culture, to discuss which photographs were either not taken or not preserved. We also often use multiple labels by people of different perspectives, opinions, or interests. We seek to question a double whammy of ostensible objectivity---that of the photograph itself as unbiased and true, and of the exhibition as a fixed and singular reality rather than one of many possible voices, contexts, and meanings. A broader understanding of what we do and how we do it could have defused much of the anger around, for example, the Enola Gay debacle. Alison Devine Nordstr=F6m Director/Senior Curator Southeast Museum of Photography Daytona Beach, Florida