The protests that derailed the Museum of West African Art’s opening reveal that neocolonial donor money and weak local patronage made it unfit for purpose
Marcel Dzama needs his head examined. The head, which is embedded in a torso that appears to be made of tin, is being harassed by a group of disapproving young men and women with neat haircuts and polo necks. They may be absentees from an early 1950s anti-pot public service film, although this is not clear.
