In ‘The Yield’ (2021), Wiradjuri writer Tara June Winch challenges and problematises the necrologies, i. e. the histories of loss, of Aboriginal dispossession that are created in and perpetuated by the colonial museum. Focusing simultaneously on the Wiradjuri family history of the Gondiwindis that has been violently extracted from their land, Prosperous, in the form of cultural materials kept in a museum’s archive as well as the threat of losing the land itself, the novel puts the restitution of museum objects and the reclaiming of land rights into dialogue. Drawing on Dan Hicks’ term ‘necrology’ to discuss how museums enact chronopolitical strategies to frame colonially oppressed peoples as non-coeval and ‘primitive’, in this article, I expand his notion of museums as colonial weapons of time by integrating Goenpul scholar Aileen Moreton-Robinson’s theorisation of the ‘white possessive’. In doing so, I situate the discourse in the settler colonial context of Australia, which allows me to read the museum as a site of knowledge production that is complicit in upholding the myth of ‘terra nullius’ and thus Aboriginal dispossession of country. I demonstrate that reclaiming the material and immaterial Gondiwindi family history in the forms of Ancestral Remains, cultural materials and a Wiradjuri dictionary signifies the rewriting of an othered history and hence a reclaiming of sovereignty over country.