Abstract
This response to Zoë Strother’s “Iconoclasms in Africa,” specifically its attention to the historical entanglement of museums and iconoclasm, reflects on the notions of collection, curation, and heritage. I pay special attention to the idea of curation as a form of healing, exploring this idea in the context of the renewed debate on restitution and repatriation. I argue that not only is uncertainty inscribed into the notion of heritage but that uncertainty itself has become a form of heritage.
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