It is February 2014, my ‘engagement project’ with Birmingham Museum and Art Gallery entitled ‘Women and Colonial Photography: Subjects of Knowledge or Objects of Desire?’ is a far-off memory now. I have finally some time to look back and reflect upon my participation in the Afterlife of Heritage Research (AHR) programme and, more specifically, on my ‘engagement project’. 2013 was one of those no-stop years for me! Since submitting my PhD in March, life has been really hectic; I would say even more hectic than it used to be. I imagine that those readers who are currently in the process of writing-up their doctoral thesis may find it hard to believe that their life will get even busier after completion. ‘Busier than this?’ they might ask themselves with a terrified face. This has been my experience at least. Writing this piece many months after the AHR ‘adventure’ began and also reached its conclusion last July, it is hoped that I am now suitably detached from the practicality (and the challenges) of the process of translating my ‘engagement project’ from a vague idea into a concrete museum output to be able to evaluate the ‘entire thing’ with sufficient distance and perspective. Before describing the project, however, I would like to begin by going back to ‘square one’ and tell you more about how this ‘adventurous adventure’ started.