Worldwide, questions such as the relationship between local and global production and reception, identity, and the possibilities of understanding foreign cultures are addressed in universities, art halls, biennials, and other major exhibitions. Surprisingly, these topics have found little resonance in those institutions that may have reluctantly led this discourse in the 19th and 20th centuries, namely ethnological museums and large ethnographic collections, which were referred to as "world art" until the 1970s. While it has become common to confront historical collections with contemporary art, the subject of the historically foreign has still been regarded with skepticism in this context.