Abstract
The Musee du quai Branly, built in the shadow of the Eiffel Tower, opened to great fanfare in 2006. Since then it has sponsored a wide variety of exhibitions and conjoint activities and fueled rich debates about museology in the postcolonial world—from collecting practices in the field and issues concerning cultural property to the politics of display and the distribution of power among collectors, dealers, curators, anthropologists, and art historians. This article follows on the book in which Price (2007) chronicled events leading up to the museum's inauguration. It lays out developments over the past three years and engages the literature, in France and elsewhere, that has swirled around the museum's undertaking.
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