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of the story,” which can be understood at the entrance of the museum.21 The location of the
exhibit is problematic, as it is somewhat concealed from the main view of the building. Having a
large amount of floor space on the third floor is a potential reason behind this, but New Ulm
residents keep the memory of the of the Dakota war hidden. After trekking up three flights of
stairs, the entrance of the Dakota exhibit displays a large mosaic collage of various images
depicting both white settlers, Union soldiers, and Dakota members mixed, helping the public
understand the interpretation remains intertwined, with no separation. In the same year, Gebhard
explains, “[a] group of Indian advisors would investigate this exhibit, making sure the display
and interpretation are well-balanced.”22 Native American advisors pursue correct interpretations,
that way their honor and culture are presented accurately. Moreover, the representation of the
white population by a series of photos, artifacts, weapons, and primary source material takes
precedence throughout the U.S.-Dakota War Exhibit.

The remembrance of New Ulm citizens does not stop at the Historical Society, but
continues into the town cemetery, revitalizing the graves of white men, women, and children
who died during the battles. Gebhard states that in 2012 a rededication for the Milford Site, the
location of a massacre of fifty white settlers, the organizers proceeded to hold a reburial
ceremony at the New Ulm Cemetery. Only 150 years later did these Americans return to their
final resting place. In 2013, the Junior Pioneers of New Ulm and Vicinity partook in countless
hours of grave maintenance and landscape clean-up, keeping a peaceful scene for the fallen
Dakota War heroes.23 Remembering these lost souls demonstrates how this conflict continues to
have a hold on the members of modern society, echoing through the streets and lives of all in and

21 Ibid.
22 Gebhard, Interview by author, 2016.
23 Ibid.