Lifestyle
A museum's confession: why we have looted objects
A view of Moving Objects: Learning from Local and Global Communities on show at the Asian Art Museum in San Francisco.
Kevin Candland/Asian Art Museum San Francisco
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Kevin Candland/Asian Art Museum San Francisco
Last year, the Thai government sent a letter to the Asian Art Museum in San Francisco requesting the return of four ancient bronze statues depicting Buddhist spiritual figures — buddhas and bodhisattvas.
“ We did some initial research on these,” said Natasha Reichle, the museum’s associate curator of Southeast Asian art. “It was not too difficult to determine that they were looted.”
Stolen around 60 years ago in a massive art heist, the statues are soon heading home to Thailand. But before they leave, the museum is explaining how these artifacts wound up in its collection in the first place in the exhibition Moving Objects: Learning from Local and Global Communities. This effort is indicative of a growing trend: Museums opening up about dark truths.
“I would love audiences to think of the return of these objects not as in any way a loss,” Reichle said, noting that the exhibition explores complex questions to do with cultural heritage, ownership, and restitution. ”And it’s also, I hope, a way to form relationships with countries in Southeast Asia that’s based on equity and collaboration.”
Turning a blind eye to questionable provenance
Reichle said these statues were among the many stolen in the mid-1960s from the ruins of a temple in a remote part of northeast Thailand.
The looted statues were sold to private collectors and museums around the world by a London art dealer. Four of them were gifted to the Asian Art Museum by a major donor.
One of many panels on the gallery walls explaining what happened to the statues and what will happen next.
Kevin Candland/Asian Art Museum San Francisco
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Kevin Candland/Asian Art Museum San Francisco
Even back then, Reichle said, her institution had suspicions about their sketchy provenance. “You can see in the correspondence that they were concerned about the legality of this, but pretty much ignored it, put it to the side, and went ahead.”
Changing values
Until about a decade ago, most museums in the West didn’t think too deeply about questions of provenance when it came to acknowledging — let alone making amends for — looted works in their collections.
“The museum sector stance was much more, ‘We’re the authorities, we’re the experts, we’re going to talk about these things we’ve studied in other cultures,” said Elizabeth Merritt, the founding director of the Center for the Future of Museums at the American Alliance of Museums.
But a growing number of requests from overseas authorities for the return of stolen artifacts, along with prominent investigations in the U.S. media and government around a few of these cases has led to a shift in the public’s understanding of what museums do — and a shift in museums’ own values.
Many museums are now re-evaluating their traditional role as universal custodians of the world’s heritage and culture.
“There’s a larger public consciousness now about what museums are,” said Stephen Murphy, a senior lecturer in the Department of History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London, who researches looted Southeast Asian art. “Like, ‘Why do you have all this material from different cultures around the world? And how did you get it?’ “
Murphy said that’s why museums are not only having more open conversations with the countries and communities whose artifacts were stolen, but also with the museum-going public.
“There’s such an appetite with the general public to understand how objects came into their collections,” Murphy said. “And I think if museums engage more openly with this, they will be able to develop a greater understanding among the museum-going public of the issues that museums face.”
The challenges facing museums
Those issues are substantial.
Many museums, including the Asian Art Museum, don’t have the money and staff to deeply research questions of provenance. And sometimes it can be difficult to identify what government or group has standing to receive these artifacts.
Figuring out the answers to these questions takes significant time. And museums may have thousands of objects, only some of which are on public display. Many are in storage, awaiting potential research.
Also, some museums still worry that the countries requesting these objects won’t be able to look after them.
As the American Alliance of Museums’ Merritt points out, caring for and researching significant cultural heritage is what museums do.
“I think it’s really important that the public understand that museums steward these vast collections for the benefit of the public, and what it takes to take care of those things,” Merritt said.
One of the statues on display in the Moving Objects exhibition: Standing Buddha, 750-850 CE, Thailand, likely from Prasat Hin Khao Plai Bat II, Buriram Province, Bronze.
Asian Art Museum of San Francisco
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Asian Art Museum of San Francisco
Talking to the public
The Asian Art Museum is just one institution confronting these competing forces out in the open.
There’s also an exhibition at the Smithsonian’s National Museum of African Art in Washington, D.C., which tells the story of sculptures stolen during a British raid on Benin City, Nigeria, in the late 1800s. The Smithsonian repatriated 29 of these co-called “Benin Bronzes” in its collection in 2022, and borrowed nine back from the Nigerian government for the exhibition.
An artifact on display in the Benin Bronzes exhibition at the Smithsonian Museum of African Art in Washington, D.C.
Chloe Veltman/NPR
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Chloe Veltman/NPR
And the Museum of Food and Drink in New York recently held a public event ahead of the repatriation of more than 50 antique Mesoamerican artifacts to Mexico and other countries.
“It’s really a celebration of the way that we are retelling history from the perspective of the people who made the history and not necessarily the people who came in and changed the history,” said Catherine Piccoli, the museum’s curatorial director.
The global museum community has been watching the evolution of American attitudes towards repatriation with interest. Udomluck Hoontrakul, the director of the Thammasat Museum of Anthropology at Thammasat University in Thailand, said she admires the Asian Art Museum of San Francisco’s efforts to engage its visitors around these issues.
“This helps audiences understand the broader situation in which these objects were taken,” Hoontrakul said. “And it highlights the violence and exploitation involved in the illicit trade of cultural property.”
Jennifer Vanasco edited the broadcast and digital versions of this story. Chloee Weiner produced the audio.
Lifestyle
‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour
Millie Bobby Brown in the final season of Stranger Things.
Netflix
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Netflix
After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?
To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.
Lifestyle
JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026
JasonMartin
Adin Ross Disrespecting Doechii …
Will Not Be Tolerated!!!
Published
TMZ.com
JasonMartin is putting his foot down after hearing Adin Ross call Doechii a “bitch” one too many times … the culture’s not going for it in 2026!!!
TMZ Hip Hop caught up with JM in L.A. this week, and he says Adin being aggressively addressed is vital to preventing outsiders of Black culture from toeing the line in the future.
Adin Ross is lying about Doechii and one of the biggest Twitter Accounts is behind it… pic.twitter.com/VoAwGJefyV
— Mike Tee (@ItsMikeTee) January 5, 2026
@ItsMikeTee
Adin maintains Doechii targeted him on her new track, “Girl, Get Up,” when she blasted people labeling her “an industry plant” … and blamed Complex magazine for helping fuel the fire.
Joe Budden, Glasses Malone, Wack 100, and Top Dawg Entertainment execs have all chimed in on Adin’s comments, and Jason says it’s bigger than internet tough talk … and won’t allow Adin to hide behind religion or freedom of speech to drag Black women.
Adin went on to collaborate with Tekashi 6ix9ine and Cuff Em on an anti-Lil Tjay and Doechii song, but has since said he’ll stay out of the beef; his chat doesn’t matter to him, and it’s not that deep to him.
TMZ.com
War mongering isn’t Jason’s only goal this year. He released 5 albums — “A Hit Dog Gon Holla,“ “I Told You So,“ “Mafia Cafe,“ “O.T.,“ and “A Lonely Winter” — to close out the 4th quarter and just may be in the “Snowfall” reboot with his buddy, Buddy!!!
Lifestyle
‘Everything I knew burned down around me’: A journalist looks back on LA’s fires
A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.
Josh Edelson/AFP via Getty Images
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Josh Edelson/AFP via Getty Images
On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.
Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.
“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.
“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”
Interview highlights
On the experience of reporting from the fires
You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …
I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.
On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …
Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.
And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.
On efforts to rebuild
The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …
There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.
On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …
We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.
On seeing this story, personally, as his “most important assignment”
Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.
Jason Frank Rothenberg/HarperCollins
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Jason Frank Rothenberg/HarperCollins
I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.
Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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