The leaders of these remote museums, for example the "indigenous communitarian museum leaders in the remote mountains of Oaxaca," who have zero staff, somehow go to meetings at very obscure locations, just to link up with others in the world of art (Holo, 80).
However, when globalization becomes what Holo calls "conventionalized homogenization," that is, everything in museums in remote places in the world become mirrors of "the Western perspective of modern art," there is a necessary response to that negative dynamic. That's not to say that militant nationalism automatically comes into play in this situation, but as Holo explains, globalization can bring "negative baggage" and when it does, as Manuel Borja-Ville explains (he is the director of the Reina Sofia, Spain's national museum of contemporary art), something has to change. In Borja-Ville's instance, he did not want to continue spreading Western reflections of art so he embraced "alternate art histories from Latin America and Africa." He also believed that globalization should truly be an embrace of other cultures, especially those cultures that have not been fully recognized or displayed (Holo, 81).
Should ethnicity determine what an artist creates? Certainly not. Art belongs to the world and artists, while they may represent and reflect the culture and ethnicity around them, and give respect to their nationality, and indeed museums that only show art from their particular culture and nation are missing an opportunity to participate in the positive side of globalization. Holo writes that some countries no doubt will find that the "universal museum" is an "unpardonable exploitation of their cultural heritage in favor of richer countries." In that case, local artists should "lead the conversation" about...
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