Betsy Wyeth’s recreation of the sail loft on Allen gives an anecdotal example of the misconception of culture and place we see in other art forms today. Daniels and Cosgrove describe this redefinition of place: “Our ability to invert signs and symbols, to recycle them in a different context and thus transform their reference. Earlier and less commercial cultures may sustain more stable symbolic codes but every culture weaves its world out of image and symbol” (Daniels 8). The sail loft’s purpose and re-purpose by Betsy and David Morey provides an example of this; a place once defined by retail & manufacturing, and then by a deeply rooted fishing culture could not be erased from place. Betsy’s cultural interpretation of the place attempts to go back to the past using artifacts from the store, or that the lobstermen who lived there once used. Instead, Betsy creates a new sense of place–a clean museum and gallery with organized artifacts. The identity of place from the past is not vivid, instead we see her place today. Betsy creates a learning center crafted with the artist in mind, not a functioning boating store or blue-collar hangout. She looks for objects that define the past, but has created a clean perception of a more rugged industry. Daniels and Cosgrove identify these intentions, “instead of providing a transparent window to the world, images are now regarded as the sort of sign that presents a deceptive appearance of naturalness and transparence concealing an opaque, distorting, arbitrary mechanism of representation, a process of ideological mystification” (Daniels 7). This same interpretation of the lobstering industry is seen in countless paintings and other pieces of art that represent the local culture. They capture the beauty of lobster boats floating in the water, but the symbolism and the true culture of the lobstering industry have a disconnect. Although tangiential, the disconnect between the local lobstermen and tourists that we’ve discussed is likely due to this symbolic perception. A lobsterman sees the industry and the local area in a much different light than the tourist from out of state would. The tourist has a view of Maine that they have seen portrayed in photos, or in museums like Betsy’s, while the lobsterman views the industry as rugged, working on their engines in the co-ops, or picking up fishing supplies for the days work. By creating a museum, Betsy has attempted to maintain the culture of the local fishing community, but has fell into this deceptive naturalness that so much art does.