On another placard Simon describes his solo M.O. as "'hybrid' music" because, by recording "Graceland" in South Africa, "he realized 'You could mix these elements. You could paint with a whole other palette,'" which, while sounding benign, sounds mildly colonial as well. The exhibit could note that what makes "Graceland" partly interesting is its mix of Jewish and African folk music traditions. It doesn't, but to be fair, aside from the novel combination of both, neither really illuminates the other's contributions. In a video, Simon explains the recording process went faster than expected because the musicians brought the aforementioned palette to the table, but the sense we get is that Simon just plopped his words on top of it. It's similar to his recording of 'Mother and Child Reunion' in Jamaica with Jimmy Cliff's band where the musicians, wanting to do reggae instead of ska, have to explain to a bewildered Simon what reggae is until he plays along all "yeah, that's cool. I'm happy with that. Let's do it as reggae." Another video, on the collaborations behind 1990's "The Rhythm of the Saints," has Simon astonished by an Afro-Brazilian musician's stylistic flourish until Simon relays they claimed to learn it from him, which on one level makes hybridity sound like a collaborative exchange but ultimately feels as self-serving as the rest of the exhibit.