From 1880, the performer Lio Medo embarked on a career as a phrenologist in colonial New Zealand and – later – Tasmania, fleeing controversy and another name. As a man of African descent, Medo laboured under heavier cultural baggage than his white brethren, not least because of a recurrent minstrel trope. Originating in the US, the joke of the ‘lack phrenologist’ sailed to Australia with minstrel troupes, sheet music and newsprint, constantly confronting real-life Black phrenologists such as Medo. A performer’s awareness and skill in navigating such representations created opportunities, even while these caricatures perpetuated oppressive racial myths. Men such as Lio Medo therefore plied popular science within a paradox, the signifier of skin attracting attention that added to the usual phrenological work of winning improved social status. For Lio Medo, signs of identity emanated not just from a top hat and a gold watch, but from his very body.