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This article considers issues in genetic rescue using art‐historical and museological perspectives, arguing that advances made in these fields constitute vital critical context for understanding the implications and assumptions of de‐extinction and its methods. It focuses on the role of visual representation within these discourses, and on resonances between museology, strands within ecocriticism, and notions of the Anthropocene. Using the case study of the extinct huia (Heteralocha acutirostris), this article addresses distortions inherent in the technologies for representing and seeing upon which impressions of extinct species so often rest, and raises questions about how de‐extinction initiatives engage with their visual sources. Furthermore, it highlights the problematics of anthropocentric visual regimes having the potential to mediate animals recreated through de‐extinction, and raises questions about what the implications of this might be for their intra‐ and interspecies relationships. This article also considers the museum, an institution in which contested practices such as collecting, curating, conserving, and canon formation echo debates and processes within ecology management, including those surrounding de‐extinction. The museum thus emerges as an analogy for—and an engine of—genetic rescue and the Anthropocene.

De-extinction and representation: Perspectives from art history, museology, and the Anthropocene