A few provocations on trauma in the artwork versus in the museum collection: could the museum be like an artwork?

I led a workshop at the GRASSI Museum for Ethnology in Leipzig as part of the annual symposium of the Colonial Provenances Working Group in Germany in May 2024. After a short PowerPoint presentation, I broke the group into smaller discussion groups to discuss any of the following questions:
1. Does art historian Griselda Pollock’s notion that art objects and artefacts enable viewers to process trauma have any bearing on your practice/work?
2. Does your practice/work in the museum incorporate any aspect/s of the model of the Trauma-informed museum?
3. If neither of these approaches speak to you, how do you consider trauma in your work in the museum? What ideas of trauma inform your work?