Making a market for “The Art of Nepal”: Tracing the flow of Nepali cultural property into the United States

Abstract

A growing number of institutions that hold cultural heritage artifacts are now considering voluntary repatriations in which they choose to return an artifact despite unfilled gaps in their knowledge of its ownership history. But how are institutions to judge whether it is more probable that such gaps conceal theft and illicit export or are innocuous? Attempting to answer this question for Nepal, we examine published and archival records to trace the history of the growth in collecting of Nepali cultural heritage in the United States, with special attention to a 1964 exhibition at New York’s Asia Society Gallery, “The Art of Nepal,” and the activity of the New York dealers Nasli and Alice Heeramaneck. We conclude that the majority of Nepali heritage items in America entered after Nepal prohibited their export.