For nine centuries, the Bayeux Tapestry has remained in a single room in Normandy — a seventy-yard chronicle of conquest too fragile to travel. Yet the human desire to stand before great works does not wait for permission from geography, and so the tapestry has found a way to move without moving: through meticulous full-scale replicas now housed in a Danish abbey, a New Zealand countryside, and an American sports arena. These reproductions raise quiet but persistent questions about authenticity, access, and who holds the right to decide what the past should look like.