For

colonising powers to quantify and survey their newly acquired domains.

For

the people living within a nation to better understand their own land, history,

communities, and culture.

In

the age of mechanical reproduction, monuments can be reduced to logos and

further disseminated as simplified commodities that serve as national symbols

to rally national pride and identity.

Proving

the historic and technological prowess of colonised nations, to be able to

build spectacular historical monuments, in turn gives the coloniser power once

the colonised is incorporated into their imperial domain.

Through

the process of archaeological research, both local and international

communities can negotiate their histories to come to an understanding of their

place in the increasingly globalised world.

Archaeological

monuments can serve as site of tourism for people from colonising nations,

which imposes a dynamic of servitude between the richer tourist consumers and

the poorer locals.

By

nature, artefacts within a museum are not for sale, the only way for Killmonger

to acquire them was through violent means – this also showcases Killmonger’s

quick to anger nature as a villain.

The

curator’s lack of knowledge of the African artefacts, which is her supposed

field of expertise, makes Killmonger think that only those with a proper

understanding of African heritage and culture should be able to own their

artefacts.

As

someone of Wakandan descent, Killmonger has more of a right to own African artefacts

than the museum, a white owned and operated institution.

Since

the museum likely acquired African artefacts through immoral means, through

violently colonising and pillaging African countries, Killmonger’s stealing of

the artefacts is only a reflection of how the British acquired the artefacts in

the first place.

Museums

are too often only located in large metropolitan centres, which limits the

access to those who live in regional or rural areas.

The

entrance fees are often too high, which bars some socio-economic groups from

being able to participate in understanding art and heritage.

Artworks

in the museum, particularly contemporary art, is often extremely obscure in its

meaning and lacks broad appeal.

The

provenance, or the way in which museums acquire their materials, are not

necessarily through legal or moral means, such as through pillaging.

The

removal of artefacts and artworks from their original context and placing them

in a decontextualised manner – such as in a glass box in a plain white room –

removes the ability of the object to function for original purpose for its

original community, for viewing pleasure of the coloniser.

Because

the plaques written to accompany exhibits are generally written by curators who

belong to colonising nations, they inherently reflect colonial biases.

Since

museums are owned by colonising nations, the funds they receive through

entrance fees, donations, etc, ultimately increase the wealth of colonisers.

Museums

generally show the works created by Western cultures in better locations, such

as nearer to the entrance or in larger rooms, which shows their superiority

over the works from other cultures.