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On the banks of the ancient city of Zeugma, now submerged beneath the waters of the Euphrates, the Gypsy Girl stands in everyday clothes, holding a box as if she were in the midst of moving. The quiet, indeterminate expression on her face carries both the passive allure historically ascribed to the “girl figure” in art history and the layered story of ownership through which the mosaics have passed over millennia. She is at once an easily imagined Other and a shared heritage that everyone seeks to claim.