In A Programme of Absolute Disorder: Decolonising the Museum, Françoise Vergès explores the pressing question of whether Western museums can be decolonised, drawing on Frantz Fanon’s anti-colonial theory from The Wretched of the Earth. First published in France in 2023 and translated into English by Melissa Thackway, Vergès’ work critiques the concept of the “universal museum,” a product of the Enlightenment and the French Revolution. These institutions, she argues, have long been built on colonial foundations, with the Louvre serving as her primary case study.
The Louvre, which opened in 1793, was conceived as a place to showcase French cultural achievements, originally displaying royal and church property. Over time, however, it came to include artworks taken as spoils of war, particularly from France’s imperial conquests. Vergès emphasizes that these acquisitions were often justified under the guise of “freedom,” framing them as acts of cultural liberation rather than theft. The Louvre’s role in the creation of the ‘universal museum’ epitomizes Western Europe’s self-appointed position as the protector of global culture and heritage.
Vergès critiques the museum world’s response to growing calls for restitution, highlighting the Louvre’s complex approach to anti-colonial critique. Although some museums, like the British Museum, have occasionally acknowledged the colonial origins of their collections, they have consistently resisted meaningful efforts to return looted artefacts. Vergès points to the British Museum’s refusal to return the Parthenon Sculptures as emblematic of this resistance, suggesting that such institutions fear that setting a precedent could lead to widespread claims for the restitution of numerous other items, including the Rosetta Stone.
The book argues that achieving decolonisation in the museum world is a monumental task. Vergès contends that meaningful change cannot be achieved through mere diversification of exhibits, institutional apologies, or expanding diversity programs that often reinforce racial hierarchies. She asserts that these efforts are insufficient and fail to address the fundamental injustices of colonialism. Instead, Vergès advocates for a radical restructuring of institutions that would involve confronting the ideological blind spots that sustain them.
Vergès also reflects on her personal experience with anti-colonial projects. She recounts her work with the Réunionese Communist Party to create a ‘museum without objects’ that would counter colonial narratives and foster discussions about reparations and the impact of French universalism on the island’s culture. Despite facing significant backlash, including media attacks and political opposition, Vergès remains pragmatic. She views the failure of this project as a valuable lesson in understanding the entrenched resistance to decolonisation and as a call for more innovative approaches to autonomy and cultural expression.
In her analysis, Vergès draws on examples of activist movements, such as boycotts of institutions complicit with the occupation of Palestine or efforts to challenge the gender imbalance in museum collections. She acknowledges small steps taken by museums like Oxford’s Pitt Rivers Museum, which dismantled its “Treatment of Dead Enemies” exhibit, or Paxton House in Scotland, which highlighted its historical links to slavery. However, Vergès argues that such initiatives, while important, represent only minor advancements in a long-term process. The question of whether existing museums can truly decolonise remains a point of contention.
Vergès also critiques the ongoing exportation of flawed ideals from the French Revolution, particularly through projects like the Louvre Abu Dhabi, which was built amid protests from exploited migrant workers. She is clear-eyed about the limitations of electoral politics in effecting significant change, citing examples such as the private foundation LUMA’s involvement in the regeneration of Arles, which saw the addition of a starchitect-designed gallery. For Vergès, the activism, advocacy, and artistic work required to advance a decolonial agenda in the globalized world is vast and complex. Her book, however, provides a vital catalyst for urgent action and reflection.
