The Protection of Cultural Heritage : a Mexican Perspective

Abstract

The author of “The Plundered Past”, K.E. MEYER,1 cites the American Curator in ancient art, John D. Cooney from the Cleveland Museum, who in 1972 estimated that 95% of all the antiques in the United States were illegally imported. Regardless of the accuracy of this statement, we may assume that this trend has persisted in the U.S. market.2 We can discuss the methodology and the data, if any, as to the volume of this illegal traffic, but it is a cruel reality that we have to face. At other latitudes and in recent times, we have learned of the embarrassing details of the “greedy” auctions in the Swiss art market during World War II of German cultural objects belonging to German museums or German Jews.3 This prompts us to refresh our memory and recall a reality dating back to the XIXth century when the foundations of the art market as we know it today were first laid. Putting it in modern terms (a fact rudely brought home to us by the process of globalization), we can say, to state the obvious, that as long as there exists a demand, the pillage of cultural objects will continue. Today, all arguments seem to be judged first by the market, and it must be admitted that looting is profitable since there are always buyers. However strong the regulatory controls, complete prevention would entail unaffordable costs 4 with meager results. In parallel with this phenomenon, we have also witnessed a raising of international consciousness and will to protect cultural objects. The international agenda has shown intense activity in cultural matters. Practically every nation now