The work of many of Nepal’s contemporary artists suggests that the distinctions between labels like ancient and modern, or foreign and Nepali, will blur if you shift your point of view.
Within the well-patrolled boundaries of Madison Square Park, it’s hard not to see Hugh Hayden’s Brier Patch as just another amenity, offering a pleasant opportunity for virtue signaling.
The African Origins exhibition ignores the fact that approximately 160 objects from Benin are held by the museum under ongoing demands for their repatriation.
Last week, I flew to Nepal and witnessed a ceremony to replace a looted Lakshmi-Narayan sculpture to its original location.
Where should we “draw the line” between sacrificing great art and supporting artists who are predators and bigots?
What does Rutherford Falls, a new TV series that prominently features two small town museums, tell us about the way people see the contentious stories on display in history and art institutions?
The most astounding result of our research was discovering how few museums had complied with the American Alliance of Museums’ simplest requirement: having a public collections policy.
We need to make it clear to our museums that we do not want to walk around in galleries of stolen artworks.
Anyone who deliberately damages art in a museum is regarded as under a delusion, either due to mental illness or a failure to perceive the nature of what they’re doing. But in reality, people touch art all of the time.
While conversations about historic monuments ignite public debate, a small sculpture which was likely looted heads to auction at Christie’s Paris.
The Museum of the Bible recently admitted all of its Dead Sea Scroll fragments are forgeries. But when fake antiquities are donated to museums, taxpayers lose.
A blogger’s shaky snapshots from an exhibition opening reveal where a Lakshmi-Narayana statue stolen from a temple in Kathmandu in 1984 had ended up: the Dallas Museum of Art.