In the introduction to the project titled Endling (Martha) by John Gerrard, there is a quote by Samuel Butler’s novel Erewhon (1872), which touches upon the question of consciousness when it comes to machines, and its similarities to how humans approach animals. While we have been domesticating, taking advantage of, and consuming our nonhuman allies for centuries, Gerrard defines Martha as “a hybrid form, a data object in dialogue with photography, history and ecology.” Keeping in mind that history is subjective, constructed, man-made, and photography is sensitive to power hierarchies (by creating a structure between subject and object), I posed my questions to Gerrard to comprehend how he approaches this triangle of relations coupled with ecology and how he challenges those taken-for-granted narratives, turn them on their heads, and suggest a fresh narrative by keeping his own vulnerabilities present.