This essay is initially motivated by the need to describe my research process on Péter Forgács’s Looming Fire, a multi-screen installation exhibited at Eye Filmmuseum in 2013. The artwork, based on Eye’s colonial film collection, seems a difficult object in moving image studies: audiovisual components inaccessible to the public, exhibition setup dissimilar from the neutralized movie theater, as well as the scarcity of detailed written reviews. The aim of the essay is thus to inquire what remains after this film-related exhibition: How to conceive an alternative analytical approach when films or videos are no longer autonomous, but part and parcel of an installation in the museum? Moreover, what insight can we gain on found footage filmmaking from a project at the same time artistic and museal?