Nigerian-born artist Njideka Akunyili Crosby appropriated the placement and pose of the figure from Édouard Manet’s painting The Dead Toreador (probably 1864, National Gallery of Art, Washington, D.C.) to create The Rest of Her Remains, a multicultural, boldly feminist statement. She replaced the male body in Manet’s work with a female body, located in a modern bedroom and surrounded by a patchwork of images drawn from Akunyili Crosby’s Nigerian culture. Using charcoal, acrylic, ink, collage, and Xerox transfers, she bridged old traditions with new technologies and methods of image making. The resulting large-scale composition defies classification and challenges the Eurocentric art-historical canon.