In Nigeria, a silent revolution is taking place in the art scene. The revolution has less to do with the stroke of a brush but more about safeguarding art. While Nigeria’s contemporary art scene continues to command global attention, a critical question has emerged: Who ensures these masterpieces survive the century?
This was the central point of discussion at the recent colloquium hosted by the Society for Art Collection (SARTCOL), in partnership with Alliance Française. Held at the Mike Adenuga Centre, the gathering of collectors, curators, legal experts, and financial strategists signaled a shift in the Nigerian art market—from impulsive acquisition to the rigorous, professionalized safeguarding of cultural legacy.
The colloquium, themed “Art Collecting and Preservation: Best Practices in Documenting and Protecting Your Collection,” served as a stark reminder that buying art is merely the beginning.
As Dr. Okey Anueyiagu, President of SARTCOL, passionately argued, Africa’s artistic legacy requires “rigour, not sentiment.”
This sentiment was echoed by keynote speaker Olufemi Akinsanya, founder of the Femi Akinsanya Art Collection. For Akinsanya, the collector is not a passive owner but an “architect of continuity.” In this light, art is not a trophy to be hung and forgotten, but a living dialogue that requires active maintenance to speak to future generations.
The colloquium dismantled the myth that art preservation is solely the domain of museums. Instead, it highlighted four critical pillars that every private collector must master:The Sacred Duty of Documentation. On this note, Nkechi Adedeji, Deputy Director and Curator at the National Museum Lagos, noted that “a work not documented lacks history.” Without a paper trail of origin, even the most beautiful masterpiece can lose its value and historical significance.
On the Valuation Gap, Shola Tinubu of SCIB Nigeria, pointed out a common vulnerability—acquisition without protection. In an era of fluctuating markets, proper valuation and insurance remain essential safeguards.
In closing, Co-Founder of SARTCOL and Nigeria’s first Professor of Corporate Governance, Fabian Ajogwu, SAN, bridged law and art with authority, offering practical frameworks for navigating authenticity, ownership and provenance in a market where disputes can erode trust.
In a post-event reflection, Yacoub Adeleke, Head of Operations at SARTCOL and curator of the colloquium, emphasised the deliberate planning behind the panel’s composition. “We weren’t simply seeking experts, we wanted voices capable of shifting paradigms,” he remarked. “What distinguished this gathering was not only the stature of its participants, but the depth and clarity of the insights they offered. They dissected the collector’s role within the cultural ecosystem with precision and passion…Acquisition is only the beginning. It is the grasp of valuation, insurance, documentation, and legal frameworks that truly safeguards and preserves legacy.”
The colloquium turned out to be more than an event; it was a clarion call. It demonstrated that art preservation is not the responsibility of museums alone but of every collector and stakeholder who dares to engage with culture. The ripple effects are already evident and the Society for Art Collection has positioned itself as a vanguard in shaping Africa’s future of art stewardship.
The challenge now is clear. Collectors must embrace their role as custodians, not merely consumers. Institutions must build the infrastructure, databases, valuation systems, insurance frameworks, that make preservation possible. Stakeholders must recognize that supporting art is not charity but investment in cultural continuity.
