摘要：This article tests the case set out by the 2002 Declaration, signed by many ofthe great museums of the world, and elaborated by Neil MacGregor, the Directorof the British Museum (BM), that these are universal institutions whose displaysenable visitors 'to see the world as one' and hence promote a more tolerantsociety. I argue that while a universal museum could be invaluable in a worldfull of conflict and misunderstanding, the credibility of the idea is underminedby its being deployed chiefly as a defense against repatriation claims.MacGregor's accounts of the Benin Bronzes, the Elgin/Parthenon Marbles andthe Rosetta Stone are examined as to whether they provide historical, ethicalor epistemological support for the idea of the universal museum. I review thecurrent display practices of 'universal museums' and argue that they are aslikely to confirm prejudice as to promote tolerance. I conclude with an alternativeview of what a universal museum might be ¨C one which is open about theconflicted histories of some objects, which acknowledges historical context aswell as aesthetics, explores violent as well as peaceful cultural encounters andreveals the Imperial as well as the Enlightenment history of collections
