Alcohol in Indian History

Granada’s recent repatriation demands. McSweeney raises questions of ethically reconsidering Spain’s nineteenth-century political and economic instability and inability to protect its heritage against a fierce foreign art market. As ethical claims fall short of resolving legal claims, she argues that museums have a role in rethinking curatorial strategies for displaced, contentious objects. Indeed, recent efforts by museums to reorganize the display of their Islamic collections make their case to free objects from unitary modes of seeing and thinking, and instead provide distinct viewing and interpretive frames that cut across cultural spheres, societies, and geographies. In anticipation of the Berlin Museum für Islamische Kunst’s plans to display the cupola, expected in 2026, From Granada to Berlin could not be timelier. How will the museum creatively translate for its visitors (and perhaps virtually for those in Granada) the visual oeuvre and the multiplicity of narratives and recollected stories offered by McSweeney’s stimulating study?