Abstract: The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of m...
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