This essay will attempt to discuss the reasons why the ownership and location of Benin art have been constantly debated between European museums and the people of Africa, particularly Nigeria , which were once known as the Kingdom of Benin. As both sides are actively seeking a negotiated method that allows both sides to meet their needs; this is obviously a method that has yet to be resolved. The museums, who want to display the works of art to the world alongside countless other historical artefacts from other countries and the Africans who want their cultural sculptures brought back to their territory because of the provocative method by which Benin art is was originally revived and for dismissal in recognition of their right to have a decision about what happens to the bronze pieces. In the early nineteenth century, Western Europeans believed that much of Benin art, such as "Plate 3.2.27", would not have been created without their interaction through trade with the Kingdom of Benin. “There is no consensus on where Benin obtained its copper before the arrival of the Europeans” (Woods, 2008, p.6). It is already logical that Benin art existed before the arrival of Europeans, but after the seizure of the works of art in 1897, it is believed to be the rightful property of people all over the world and is locked away in Western museums in trust of the world. “British museums now display their treasures, including Benin artworks, as an archive of global and intertwined histories, held in trust for all humanity” (Woods, 2008, p.4). Africans, however, believe that art belongs to all Africans and is part of their cultural heritage. “In Benin, history has traditionally been recorded through the arts, rather… middle of paper… which Africans believe they have done so. In contrast, museums want nothing more than for art to stand alongside other great artifacts from other cultures within the museum, “to play their role in history” (Spring, 2008). There is no direct process that can be prepared to appease both sides of the controversial artwork, because museums perhaps they want the artwork for global benefit, while Africans want it for cultural reasons.Reading 2.6 (2008) Artworks from Benin City, 83-84.Dalton, R. a. . A description of one of the plaques (plate 3.2.27). Who owns the Benin sculptures ?.Primavera, C. (2008).Who owns the Benin sculptures?London.Woods, K. (2008)..