In this thesis the making and experiencing of the exhibition “Sundi Mongo – A village in Congo” is examined through ethnographical interviews with former and present employees at the Museum of Ethnography in Stockholm. The interviews, together with archive material concerning the exhibition, are analyzed with discourse theory in order to examine how discourses of defining Africa construct application and interpretation of the exhibition pieces. A significant element is dislocation, where the exhibition has been standing since 1983 and the meaning of the exhibition is now expressed as changed. This change of meaning is connected to the change of exhibition ideals and changes in the perception of the exhibition model; a real village called Sundi Mongo, located in southwestern Congo. Change and continuity also concerns interpretations of the museum’s cooperation with the Swedish Missionary Association and affective practices surrounding the exhibition pieces and objects in the museum’s collections. The construction of interpretations of the exhibition pieces and objects are also analyzed with the concept of fantasy.