The question of how and where SÃ¡mi culture is best represented is a debated issue in Norway. However; politically the problem has been âsolvedâ through the establishment of SÃ¡mi museums; run by SÃ¡mi people and administered by the SÃ¡mi Assembly. The first SÃ¡mi museum in Norway was RiddoDuottarMuseat-SÃ¡miid VuorkÃ¡-DÃ¡vvirat (RDM-SVD) in Karasjok. SÃ¡mi museums have; however; been subjected to considerable criticism. They have been accused for propagating ethnic reification and presenting a stereotypical and static image of SÃ¡mi culture and identity. The exhibitions are seen as replicas of conventional ethnographic displays; tending to represent SÃ¡mi culture as belonging to a traditional; pre-modern past; due to a lack of chronological narration and historical anchoring. Based on fieldwork at the RDM-SVD; this article presents an analysis of the exhibition practices that challenges such earlier readings. We argue that far from replicating the exhibition language of dominant western ethnography; the exhibitions can be seen as an effort to undermine the conceptions of time and history of the dominant society. Based on a study of the museum display as a total experience; our alternative reading suggests that the museum; by evoking a mythical landscape through aesthetic means; inscribes itself into a SÃ¡mi conception of time and space â a SÃ¡mi understanding of reality. Thus; we also address the debate concerning museums in non-western spaces; and the question of recognizing indigenous curatorial practices. Not least the art section leaves an impression of a museum space less marked by closure than earlier readings suggest. Here the museum opens up for articulations with the wider world; as SÃ¡mi contemporary art not only speaks from a position of a particular locality; it also communicates with the international art scene and incorporates visions and perspectives from a global or multiple world.