She haughtily tells him that the item is not for sale. Killmonger asks her how does she think her ancestors obtained these items in the first place? Did they pay a fair price for them? Or did they, secure in their greater capacity for violence and total contempt for anyone not white, just take them. It's a powerful scene.
People, unfortunately especially people who are descended from colonizers and imperialists, often forget that much of the world's greatest art is in European museums not because of honest trade but because of violence and theft. I was reminded of this because of a recent NY Times article that detailed the halting and slow efforts of two people to convince European museums (in this case a British one) to do the right thing and return stolen art (in this case masks from Benin in what is now Nigeria).
In 2004, Steve Dunstone and Timothy Awoyemi stood on a boat on the bank of the River Niger. In the back of the crowd, Mr. Awoyemi, who was born in Britain and grew up in Nigeria, noticed two men holding what looked like political placards. They didn’t come forward, he said. But just as the boat was about to push off, one of the men suddenly clambered down toward it. “He had a mustache, scruffy stubble, about 38 to 40, thin build,” Mr. Dunstone recalled recently. “He was wearing a white vest,” he added. The man reached out his arm across the water and handed Mr. Dunstone a note, then hurried off with barely a word.
That night, Mr. Dunstone pulled the note from his pocket. Written on it were just six words: “Please help return the Benin Bronzes.” At the time, he didn’t know what it meant. But that note was the beginning of a 10-year mission that would take Mr. Dunstone and Mr. Awoyemi from Nigeria to Britain and back again, involve the grandson of one of the British soldiers responsible for the looting, and see the pair embroiled in a debate about how to right the wrongs of the colonial past that has drawn in politicians, diplomats, historians and even a royal family.