| Summary: | The recent documenta 14 (2017) addressed the question of art theft and war spoliations, taking as its point of departure the case of Cornelius Gurlitt (1932-2014). One can fully embrace the curatorial engagement in revising exclusive Western canons of art history. However, this revision was accomplished by means of objects of colonial appropriation. In such instances, the critical reflexive turn of Western art history upon its canonical self stumbles against the violence of looting and dispossession often inflicted in the name of scientific ideals and accumulation of knowledge, leading to yet another "story of wheels within wheels".
|
|---|