The looting of the Iraqi National Museum in April of 2003 provoked a world outcry at the loss of artifacts regarded as part of humanity's shared cultural patrimony. But though the losses were unprecedented in scale, the museum looting was hardly the first time that Iraqi heirlooms had been plundered or put to political uses. From the beginning of archaeology as a modern science in the nineteenth century, Europeans excavated and appropriated Iraqi antiquities as relics of the birth of Western civilization. Since Iraq was created in 1921, the modern state has used archaeology to forge a connection to the ancient civilizations of Mesopotamia and/or Islamic empires and so build a sense of nationhood among Iraqis of differing religious traditions and ethnicities. This book delves into the ways that archaeology and politics intertwined in Iraq during the British Mandate and the first years of nationhood before World War II. Magnus Bernhardsson begins with the work of British archaeologists who conducted extensive excavations in Iraq and sent their finds to the museums of Europe. He then traces how Iraqis' growing sense of nationhood led them to confront the British over antiquities law and the division of archaeological finds between Iraq and foreign excavators. He shows how Iraq's control over its archaeological patrimony was directly tied to the balance of political power and how it increased as power shifted to the Iraqi government. Finally he examines how Iraqi leaders, including Saddam Hussein, have used archaeology and history to legitimize the state and its political actions.

There is a long-held feeling in Russia that Moscow is the true heir to the Christian Byzantine Empire. In 1894, Imperial Russia opened one of the world's leading centres for Byzantine archaeology in Istanbul, the Russian Archaeological Institute – its purpose was to stake the claim that Russia was the correct heir to 'Tsargrad' (as Istanbul was referred to in Russian circles). This then is the history of that institute, and the history of Russia's efforts to reclaim its Middle East – events since in the Crimea, Syria and Georgia are all, to some extent, wrapped up in this historical framework. Ure looks at the founding of the Russian Archaeological Institute, its aims, and its place in the 'digging-race' which characterised the late Imperial phase of modern history. Above all, she shows how the practise of history has been used as a political tool, a form of "soft power".

Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.

In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.

A New York Times Critics’ Best Nonfiction Book of 2021 Canadian Jewish Literary Award for Biography From a gifted young writer, the story of his quest to reclaim his family’s apartment building in Poland—and of the astonishing entanglement with Nazi treasure hunters that follows Menachem Kaiser’s brilliantly told story, woven from improbable events and profound revelations, is set in motion when the author takes up his Holocaust-survivor grandfather’s former battle to reclaim the family’s apartment building in Sosnowiec, Poland. Soon, he is on a circuitous path to encounters with the long-time residents of the building, and with a Polish lawyer known as “The Killer.” A surprise discovery—that his grandfather’s cousin not only survived the war, but wrote a secret memoir while a slave laborer in a vast, secret Nazi tunnel complex—leads to Kaiser being adopted as a virtual celebrity by a band of Silesian treasure seekers who revere the memoir as the indispensable guidebook to Nazi plunder. Propelled by rich original research, Kaiser immerses readers in profound questions that reach far beyond his personal quest. What does it mean to seize your own legacy? Can reclaimed property repair rifts among the living? Plunder is both a deeply immersive adventure story and an irreverent, daring interrogation of inheritance—material, spiritual, familial, and emotional.