Curator, African Art, Dr. Amanda M. Maples, being a white woman from rural USA curating African art, elitism in the art world, co-curatorial practices, the barriers to entry in the curatorial field, the global north, Masquerade, Diaspora throughout the art world, appropriate uses of the term Tribe, restitutions, reparations, the desire for equitable access to art throughout the world, the need for more global circulation among museums, colonialisation in art museums, the need for museum transparency, Digital Benin, MARKK, Museum am Rothenbaum, Smithsonian National Museum of African Art, North Carolina Museum of Art, Hervé Youmbi, Jordan Fenton, Lisa Homann, Revisionist History, Hermitage Museum, Chika Okeke-Agulu, Selly Raby Kane, Senegal, Alun Be, Tsoku Maela, South Africa, Jean Servais, designer, Côte d’Ivoire, Ousmane Mbaye, Sheku Fofanah, masquerade designer, kotu, Sierra Leone

Curator, African Art, Dr. Amanda M. Maples, being a white woman from rural USA curating African art, elitism in the art world, co-curatorial practices, the barriers to entry in the curatorial field, the global north, Masquerade, Diaspora throughout the art world, appropriate uses of the term Tribe, restitutions, reparations, the desire for equitable access to art throughout the world, the need for more global circulation among museums, colonialisation in art museums, the need for museum transparency, Digital Benin, MARKK, Museum am Rothenbaum, Smithsonian National Museum of African Art, North Carolina Museum of Art, Hervé Youmbi, Jordan Fenton, Lisa Homann, Revisionist History, Hermitage Museum, Chika Okeke-Agulu, Selly Raby Kane, Senegal, Alun Be, Tsoku Maela, South Africa, Jean Servais, designer, Côte d’Ivoire, Ousmane Mbaye, Sheku Fofanah, masquerade designer, kotu, Sierra Leone