Boston’s Display of Stolen Art; A Review of The Benin Gallery at the MFA by Mia Hand

The Benin Kingdom emerged as a powerful and sophisticated state in present-day Nigeria during the fourteenth century. Renowned for its advanced political organization, military strength, and artistic guilds, Benin City, the capital, was enclosed and served as a central hub where the Oba (king) wielded his authority. The Benin Kingdom played a pivotal role in the region’s trade, especially in dealing palm oil, ivory, and enslaved people, engaging in commercial activities with major European nations.

As economic freedom increased for the city-state, artistic creativity thrived, giving rise to intricate bronze and brass sculptures that characterize this society today. However, in the late nineteenth century, as European colonial pressures rose across the globe, the British pillaged Benin's royal treasures and caused catastrophic violence to the Edo people. This event, alone, marks the decline of the kingdom's political autonomy as it would become part of British Nigeria for the next sixty years. Nevertheless, the lasting cultural and historical legacy of the Benin Kingdom continues to shape the identity of present-day Benin and Nigeria. After colonization, Benin artifacts were dispersed and traded across the globe; many objects have ended up in possession of  Western institutions, like the Boston Museum of Fine Arts or The British Museum, which collectively hold hundreds of cultural artifacts.

Image of entrance view of “The Benin Kingdom” room, ©Mia Hand 2024

The Benin Kingdom Gallery is one of the most readily available exhibits upon entrance to the Boston Museum of Fine Arts. Immediately to the left, when entering the grand, Western-stylized rotunda, is the exhibit. Considering the size of the MFA, it is a relatively small room, with little to no light and a heavy reliance on the white cube gallery style. With hard concrete floors and white and gray walls accompanying wall texts, the curation style is rooted heavily in Western aesthetics and visual appeal. The room is organized around five Benin objects encased strategically in tall glass display cases to allow for a linear path through the room. In many ways, this deliberate choice by the curator encourages museum guests to walk past the exhibit as a means of convenience rather than positioning the gallery as a destination; coupled with the rather bleak visual presence from the scheme and organization of the exhibit, the room is disappointing. The gallery style is washing the significance and weight of the art in the room, ignoring the heritage and political context needed to interact with the art in this space. 

Image of entrance view of Commemorative head of a king (Oba), Edo, Benin kingdom, Nigeria, late 16th century, Copper alloy, iron, 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), “The Benin Kingdom” room, ©Mia Hand 2024

Among the most important bronzes on display at the MFA is a commemorative head of the Oba. Encased by itself on the right side of the walk-through next to other bronzes and depictions of the Oba, the wall text available and the room's aesthetics could never accurately describe the significance of the MFA possessing this artifact. Starting in the fourteenth century, every incoming Oba of Benin initiated their reign by establishing a shrine dedicated to their predecessor. Within the Edo community of Benin, the head symbolically represented an individual's character and destiny. Freestanding heads, such as the one confined behind glass, were positioned on shrines to symbolize the qualities and leadership exhibited by the former ruler. Alongside carved ivories, staffs, and other artifacts, these heads served as a central focal point through which a reigning Oba communicated with their ancestors. The MFA’s possession of these Benin objects is questionable at best, yet its possession of an Oba’s commemorative head is egregious, a further testament to the West’s ongoing colonization of Benin's history and living heritage. 

The MFA positions itself as a steward of these artworks, displaying them for the benefit of the Boston community and beyond, emphasizing their availability for study and public viewing. However, criticism arises regarding the MFA's seemingly lackluster approach to displaying these artifacts, highlighted by its omission of critical contextual information about the acquisition and the political complexities involved in the current arguments for repatriation. The MFA's perspective is encyclopedic in its attempt to present Benin art to the Boston public. The MFA is not alone in this thought; cultural internationalists argued for the encyclopedic nature of Western museums, asserting that they serve as a global directory that fosters a worldview rooted in diversity rather than nationalistic cultural identity. This perspective prioritizes preserving and protecting artifacts over repatriation. It suggests that collaborative relationships between museums can achieve common goals – goals manufactured by the same Western institutions that aggressively stole these objects and continue to colonize their histories. On the other hand, cultural nationalists assert that cultural property belongs to its country of origin, emphasizing racial justice and the promotion of national identity in the wake of the decolonization of these objects and places. Cultural nationalists argue for the repatriation of the Benin Bronzes as a symbolic end to colonialism, stressing the cultural significance embedded in these artifacts and their connection to the living spirit of the Edo people. This debate highlights the challenges in determining the most ethically sound course of action in repatriation and museum practices, especially concerning the Benin Bronzes at the MFA.

The exhibition attempts to delve into the rich history and artistic legacy of the Benin Kingdom in West Africa. As ethical concerns arise from the MFA’s presentation, particularly its subtle acknowledgment of the political and cultural contexts associated with the artifacts. The intentional curatorial choices, heavily influenced by Western aesthetics, downplay the significance of Benin art and its history. Despite efforts to enhance accessibility through wall texts and interactive computers, these tools seem inadequate in capturing the state of existence of the Benin Kingdom. The museum's decision to simplify descriptions and downplay the ongoing political nature of the artifacts highlights the challenges all institutions face in providing a nuanced and authentic portrayal of cultural narratives. The Boston Museum of Fine Arts exhibition reflects the ongoing discourse surrounding cultural heritage across the globe, raising essential questions about the responsibilities of museums, the narratives they prioritize, and the delicate balance between global perspectives and cultural identity. The Benin exhibit at the Boston MFA encourages visitors to reflect not only on the historical legacy of the Benin Kingdom but also on the broader implications of museum practices in the twenty-first century.