The Repatriation Project
A series investigating the return of Native American ancestral remains.
Is the Metropolitan Museum of Art Displaying Objects That Belong to Native American Tribes?
by Kathleen Sharp for ProPublica
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Series: The Repatriation Project
The Delayed Return of Native Remains
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Stepping into the Metropolitan Museum of Art, Shyanne Beatty was eager to view the Native American works that art collectors Charles and Valerie Diker had been accumulating for nearly half a century. But as she entered the museum’s American Wing that day in 2018, her excitement turned to shock as two wooden masks came into view.
Beatty, an Alaska Native, had worked on a radio documentary about the two Alutiiq objects and how they and others like them had been plundered from tribal land about 150 years ago. Now, the masks were on display in the biggest and most esteemed art museum in the Western Hemisphere. “It was super shocking to me,” she said.
The Met’s ownership history for the masks, also known as provenance, omits more than a century of their whereabouts. Historians say the masks were taken in 1871. But the museum’s timeline doesn’t start until 2003, when the Dikers bought them from a collector. Ownership was transferred to the Met in 2017.
The Dikers, who have amassed one of the most significant private collections of Native American works, have been donating or lending objects to the Met since 1993. In 2017, as other institutions grappled with returning colonial-era spoils, the Met announced the Dikers’ gift of another 91 Native American works.
A ProPublica review of records the museum has posted online found that only 15% of the 139 works donated or loaned by the Dikers over the years have solid or complete ownership histories, with some lacking any provenance at all. Most either have no histories listed, leave gaps in ownership ranging from 200 to 2,000 years or identify previous owners in such vague terms as an “English gentleman” and “a family in Scotland.”
Experts say a lack of documented histories is a red flag that objects could have been stolen or may be fake.
“That’s a lot of missing documentation, which is a problem,” said Kelley Hays-Gilpin, a curator at the Museum of Northern Arizona. The Arizona museum has documented about 80% of its collection, as has the Brooklyn Museum and other institutions that are considered less prestigious than the Met but that have substantial Native American collections. Some museums, such as one at the University of Denver, decline gifts that have poor provenance.
For centuries, Native Americans have decried the looting of the graves of their ancestors by pothunters and scientists and the display of their remains and belongings in museums. In 1990, Congress passed the Native American Graves Protection and Repatriation Act to facilitate the return of such items and human remains to the appropriate tribes, which the law declares are their rightful owners.
NAGPRA requires federally funded museums to notify a tribe within six months of receiving their holdings by contacting and consulting with that tribe’s chosen representative, often known as a Tribal Historic Preservation Officer, and giving them an opportunity to reclaim their objects. The law also mandates that museums file a copy of those notices with the National Park Service.
These interactions provide an opportunity for institutions to learn more about the history of objects, whether they are authentic or might have been stolen and if it’s appropriate to display them. But as ProPublica has reported this year, museums have often delayed such discussions while keeping human remains and objects that the law says should be returned.
Some pieces in the Diker Collection are sacred, such as a shaman’s rattle made of human or horse hair; some are funereal and were buried with the dead. (The Met recently returned the rattle to the Dikers, and there are “ongoing consultations” related to some other items, according to the museum.)
“Most of these items could only have ended up in private hands through trafficking and looting,” said Shannon O’Loughlin, director of the Association on American Indian Affairs, which advocates for tribal sovereignty and the protection of Native American cultures.
“The way that so many of these things wound up in museums is horrible,” said Rosita Worl, president of Sealaska Heritage and a Tlingit citizen. New York law goes by the principle of once stolen, always stolen, and she said the pieces are tainted. “The rightful thing is for these things to be returned home.”
Initially, many of the objects were loans; due to a loophole in NAGPRA, this meant the museum did not have to report them to tribes or to the NPS. To date, the museum has accepted the transfer of 77 of the promised gifts from the Diker Collection, according to the Met.
But ProPublica found that after assuming ownership the Met for years failed to consult the necessary tribal officials in a timely and consistent manner about objects in its collections. A year passed before the museum contacted someone at the Alutiiq tribe to inform them that it had their masks. (The Met declined to name the person it contacted.) Four years later, the NPS posted summaries that the Met had sent in September 2022 to 63 tribes connected to objects in the Diker Collection. The Met did so after ProPublica asked the museum about the masks and other sacred and culturally sensitive items.
All the while, the museum displayed some items with incorrect descriptions and omitted or minimized the wars, occupations, massacres and exploitation that dominated the tribes’ past.
The Met’s descriptions in its displays “are in the land of make-believe,” said Wendy Teeter, the former curator at the Fowler Museum at the University of California, Los Angeles. “The public won’t have a clue as to what a piece really is or how it got there.” This, Teeter said, “perpetuates stereotypes and bias against Native people.”
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