Who Owns the World’s Art Treasures?

Some of the most celebrated pieces of art from the Kingdom of Benin—located in what is today southwestern Nigeria—are the Queen Idia masks. These intricately carved ivory masks represent the mother of the Oba, or ruler, of Benin during the 16th century, and were worn on his hip during ceremonies.

But today, these priceless artifacts and thousands of others like them are scattered around the world. The celebrated works, known as the Benin Bronzes, were taken by British forces in an 1897 raid, landing in museums and private collections thousands of miles away from the people and culture that created them.

Many years ago, the Kingdom of Benin thrived in what is today southwestern Nigeria. Some of its most celebrated pieces of art are the Queen Idia masks. These ornate, carved ivory masks represent the mother of the Oba, or ruler, of Benin during the 16th century. They were worn on his hip during ceremonies.

But today, these priceless artifacts and thousands of others like them are scattered around the world. The celebrated works are known as the Benin Bronzes. British forces took them in an 1897 raid. From there, they landed in museums and private collections thousands of miles away from the people and culture that created them.

During a period when European powers divided up and colonized most of Africa, British troops attacked Benin 125 years ago, setting fire to the kingdom and pillaging at least 3,000 Benin Bronzes, but possibly thousands more.

Today, an original Queen Idia mask sits in a prominent display at the British Museum in London, where British visitors and tourists can admire it. The British Museum holds more than 900 Benin Bronzes.

But as a growing movement to return stolen objects to their places of origin sweeps the globe, cultural institutions like the British Museum face pressure to examine their collections and rethink whether they’re the rightful owner of these treasures.

“We’re in a moment,” says Dan Hicks, author of The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution, “where we’re working out what the ethical responsibilities are as the world changes around us.”

British troops attacked Benin 125 years ago. They set fire to the kingdom. They also looted at least 3,000 Benin Bronzes, but possibly thousands more. This attack happened during the period when European powers divided up and colonized most of Africa.

Today, the British Museum in London holds more than 900 Benin Bronzes. An original Queen Idia mask sits in a display. British residents and tourists who visit the museum can admire it.

But a growing movement to return stolen objects to their places of origin is sweeping the globe. As a result, cultural institutions like the British Museum face pressure to look through their collections and rethink whether they’re the rightful owner of these treasures.

“We’re in a moment,” says Dan Hicks, author of The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution, “where we’re working out what the ethical responsibilities are as the world changes around us.”

Not all of the Benin Bronzes are made of bronze. The name covers a range of artifacts such as carved elephant tusks, ceramics, ivory leopard statues, brass plaques, wooden heads, and more. To many, these works of art—and their homes in the Western world today—represent the damaging impact of colonialism on cultural identity and heritage.

The Benin Bronzes have been at the forefront of a broader global debate regarding art and artifact restitution and repatriation. Restitution is the legal transfer of ownership of an item to its place of origin, while repatriation is the step of actually sending an item back.

For decades, Nigerian artists, historians, activists, and leaders have sought, unsuccessfully, to get the pieces back. But more recently, a shift in the global climate sparked by Black Lives Matter and other similar movements has accelerated restitution and repatriation efforts.

Not all the Benin Bronzes are made of bronze. The name covers a range of artifacts such as carved elephant tusks, ceramics, ivory leopard statues, brass plaques, wooden heads, and more. To many, these works of art and their homes in the Western world today represent the damaging impact of colonialism on cultural identity and heritage.

The Benin Bronzes have been at the forefront of a broader global debate about art and artifact restitution and repatriation. Restitution is the legal transfer of ownership of an item to its place of origin. Repatriation is the step of actually sending an item back.

For decades, Nigerian artists, historians, activists, and leaders have tried to get the pieces back. Many of their efforts have been unsuccessful. But more recently, restitution and repatriation efforts have increased. This surge is a result of a shift in the global climate sparked by Black Lives Matter and other similar movements.

“There is an increasing awareness on the part of Africans about their histories,” says Chika Okeke-Agulu, a Nigerian artist and professor of art history at Princeton University. “And we’re at a point now where there are more Africans in positions of power where their voices matter.”

The British Museum holds more Benin Bronzes than any institution in the world. In response to questions from Upfront, it sent a statement that said, in part: “The British Museum understands and recognizes the significance of the discussions surrounding the return of objects, and we work with communities, colleagues, and museums across the globe to share the collection as widely as possible.” The statement also said that the museum “remains committed to thorough and open investigation of Benin collection histories.”

“There is an increasing awareness on the part of Africans about their histories,” says Chika Okeke-Agulu, a Nigerian artist and professor of art history at Princeton University. “And we’re at a point now where there are more Africans in positions of power where their voices matter.”

The British Museum holds more Benin Bronzes than any institution in the world. In response to questions from Upfront, it sent a statement that said, in part: “The British Museum understands and recognizes the significance of the discussions surrounding the return of objects, and we work with communities, colleagues, and museums across the globe to share the collection as widely as possible.” The statement also said that the museum “remains committed to thorough and open investigation of Benin collection histories.”

Other institutions have begun to return some or all of their Benin Bronzes. In March 2021, the University of Aberdeen in Scotland became one of the first to announce it would repatriate a Benin Bronze. A month later, Germany announced it would start returning more than 1,000 Benin Bronzes to Nigeria. Two months after that, New York’s Metropolitan Museum of Art (known as The Met) agreed to return two brass plaques from its collection—though the museum still houses about 160 objects from Benin City.

Then last spring, the Smithsonian Institution—which includes 21 U.S. museums and the National Zoo—announced it had adopted a policy to formally authorize its museums to return items from their collections that were looted or at some point in the chain acquired unethically.

First up under its new policy of ethical returns: sending most of the 39 Benin Bronzes in its collections back to Nigeria. Hicks, the author, calls the move “a watershed moment for American museums.”

“I’ve never felt more optimistic about our museums because of these movements and shifts we’re seeing,” he says.

Other institutions have begun to return some or all of their Benin Bronzes. In March 2021, the University of Aberdeen in Scotland became one of the first to announce it would repatriate a Benin Bronze. A month later, Germany announced it would start returning more than 1,000 Benin Bronzes to Nigeria. Two months after that, New York’s Metropolitan Museum of Art (known as the Met) agreed to return two brass plaques from its collection. But the museum still houses about 160 objects from Benin City.

The Smithsonian Institution announced last spring it had adopted a policy to formally allow its museums to return items from their collections that were looted or at some point in the chain obtained unethically. (The Smithsonian includes 21 U.S. museums and the National Zoo.)

First up under its new policy of ethical returns: sending most of the 39 Benin Bronzes in its collections back to Nigeria. Hicks, the author, calls the move “a watershed moment for American museums.”

“I’ve never felt more optimistic about our museums because of these movements and shifts we’re seeing,” he says.

The movement to return pillaged items goes beyond the Benin Bronzes. In 2021, a sweep of looted items from museums and private collections across the U.S. resulted in the return of 200 pieces to Italy, including an ancient Roman sculpture forfeited by Kim Kardashian. Around the same time, the U.S. also returned more than 900 stolen artifacts to Mali.

But not everybody believes that returning the objects is the proper thing to do. In many cases, calls to return these relics have been rebuffed (see “The Parthenon Marbles,” below).

The movement to return pillaged items goes beyond the Benin Bronzes. In 2021, a sweep of looted items from museums and private collections across the U.S. resulted in the return of 200 pieces to Italy. That included an ancient Roman sculpture that Kim Kardashian owned and chose to return. Around the same time, the U.S. also returned more than 900 stolen artifacts to Mali.

But not everybody believes that returning the objects is the proper thing to do. In many cases, calls to return these relics have been opposed (see “The Parthenon Marbles,” below).

Some worry that museums could empty of artifacts, and with that, opportunities to learn about global cultures would be lost. Others ask: If museums didn’t steal the objects in the first place, why should they have to return them?

“Returning artifacts can’t atone for the sins of the past,” says Tiffany Jenkins, author of Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. “What’s happened has happened, and artifacts can’t act as therapy.”

Jenkins also argues that as nations rise and fall, the idea of who owns the objects of a given culture gets muddied.

Some worry that museums could empty of artifacts. With that, opportunities to learn about global cultures would be lost. Others ask: If museums didn’t steal the objects in the first place, why should they have to return them?

“Returning artifacts can’t atone for the sins of the past,” says Tiffany Jenkins, author of Keeping Their Marbles: How the Treasures of the Past Ended Up in Museums—And Why They Should Stay There. “What’s happened has happened, and artifacts can’t act as therapy.”

Jenkins also argues that as nations rise and fall, the idea of who owns the objects of a given culture gets blurred.

But advocates for restitution and repatriation say that since countries like Nigeria have asked for the items, it’s clear what museums must do.

“Time is up for so many of the old arguments that we don’t know who to return these [objects] to or where they’re going to go,” Hicks says. And once returned, “we can’t be the judge and jury anymore about what’s appropriate—it’s up for the rightful owners to decide.”

In Nigeria, plans are underway to open the Edo Museum of West African Art in Benin City as early as 2026. The new museum is expected to house at least 300 repatriated Benin Bronzes, while more items might go back into palaces and other public institutions in Africa.

But advocates for restitution and repatriation say that since countries like Nigeria have asked for the items, it’s clear what museums must do.

“Time is up for so many of the old arguments that we don’t know who to return these [objects] to or where they’re going to go,” Hicks says. And once returned, “we can’t be the judge and jury anymore about what’s appropriate—it’s up for the rightful owners to decide.”

In Nigeria, plans are underway to open the Edo Museum of West African Art in Benin City as early as 2026. The new museum is expected to house at least 300 repatriated Benin Bronzes. Other items might go back into palaces and other public institutions in Africa.

Okeke-Agulu, the artist and art history professor, has a vision for the future of museums. He hopes the finest examples of Benin Bronze—such as the Queen Idia masks—will be returned to Nigeria. But he also envisions swaps and exchanges between Western museums and those in Africa, so museums everywhere can be filled with the treasures of cultures both near and far.

From there, institutions across cultures can partner together to share knowledge and information about the objects, and to educate visitors on their complicated histories.

“I don’t mind having a museum in Benin loan Benin Bronzes to the Met and having the Met loan medieval statuary that it has in its holding to Benin,” Okeke-Agulu says. “It’s only within that context that we can begin to imagine the post-colonial museum.”

Okeke-Agulu, the artist and art history professor, has a vision for the future of museums. He hopes the finest examples of Benin Bronze—such as the Queen Idia masks—will be returned to Nigeria. But he also envisions swaps and exchanges between Western museums and those in Africa. That way museums everywhere can be filled with the treasures of cultures both near and far.

From there, institutions across cultures can partner together to share knowledge and information about the objects. They can also partner to educate visitors on their complicated histories.

“I don’t mind having a museum in Benin loan Benin Bronzes to the Met and having the Met loan medieval statuary that it has in its holding to Benin,” Okeke-Agulu says. “It’s only within that context that we can begin to imagine the post-colonial museum.”

With reporting by Matt Stevens of The New York Times.

With reporting by Matt Stevens of The New York Times.