Art repatriation refers to the return of artworks or cultural objects to their country of origin or former owners. Many artworks around the world, like the Benin Bronzes, remain in colonial-era collections. This issue has been prominent for over five decades, particularly with the independence of many colonized nations. Yet, large-scale repatriation has not happened. Why is this the case?

• Provenance Dilemma: Many artworks (85-90% of classical and other artifacts) lack a documented history of ownership, making repatriation difficult. Even when the provenance can be traced, it may not lead to a contemporary cultural or national group.

Real-world example: Imagine finding a diamond ring in the street. It’s difficult to return it to the rightful owner without any knowledge about the owner's identity or the ring’s history.

• Conflict of Interest: Museums and trustees may have a vested interest in not investigating the origins of works in their collections. After all, they benefit from having prestigious pieces in their possession.

Real-world example: It’s like finding a $100 bill on the street. It's beneficial for the finder to keep it, even though it might not be the most ethical choice.

• Case Study: The Hanuman statue at the Cleveland Museum of Art. The museum returned the statue voluntarily, but critics argue it should not have been in the collection in the first place, considering it surfaced during Cambodia's war and genocide.

• Claiming Ownership: Collectors often claim they "found," "saved," or were the first to recognize the value of an artwork. Some artifacts even gain artistic status after being collected.

Real-world example: Think of an old, worn-out painting found in an attic. The finder restores and frames it, and suddenly, it's valuable art.

• Value Attribution: Objects can gain perceived value in museums, even if they were not considered art in their original context. Once this value is identified, a repatriation claim can be challenging to honor.

• Legal Framework: The UN convention of 1970 sets rules for the legal export or repatriation of art discovered after that date. But for artifacts acquired before, no significant multilateral cooperation exists.

• Stewardship Argument: Museums argue they are the best caretakers of the work, given their advanced preservation technologies, security measures, and political stability.

Real-world example: This is akin to a well-equipped, modern hospital claiming to be the best caretaker of a medical artifact, even if it originally belonged to a small, under-resourced clinic.

• Universal Museum Argument: Advocates argue that museums in the West are the only institutions capable of preserving the world's cultural heritage, especially in light of threats such as the destruction of ancient sites by the Islamic State.