Abstract
Baghdad's treasures is a veritable blindspot for the 'global community'. Dutta and Mathur are currently researching the problem of contemporary artistic practice in relation to the postcolonial museum and the liberalised art sphere in India. Their criticism is directed against the McGuggen heim effect (mega museums' blockbuster design shows) and the problematic cosmopolitanism of biennale circuits. Here according to Dutta, the byways of art in the erstwhile Third World either produce 'the image of counter-avant gardes as if ex nihilo (as individual numens holding forth despite their supposedly restrictive environs) or the study of extrastatal networks public-sphere collectives against the state' (p. 36). New pathways which possibly index ectropy against these globalising practices are now more urgent than ever.
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