Abstract
The starting point of this contribution is the observation that paintings and drawings from the Indian-Pakistani cultural area are rarely discussed in the context of decolonization of museums and their holdings. What can be seen in the discourse of media is constituted in public and national interests, but even more in a systematic institutional blindness. Contrary to sculptures, the paintings and drawings were traditionally private property and had no viewing practice in a public sphere. Although I argue that the property changes leading to the entrance of those paintings and drawing into (Western) art collections and academic scholarship are strongly linked to problematic issues of colonial heritage and power imbalance. Further I support that museums do well to consider not only provenance related research but also their exhibition practices as approaches to decolonization.
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