如何处理博物馆和公共领域纪念碑中的艺术殖民史是一个棘手的问题，我们才刚刚开始解决。“不安艺术之旅”活动（Uncomfortable Art Tours）的主办者爱丽丝•普罗克特提供了一本手册，解构你以为自己知道的关于艺术史的一切，并讲述了那些被典籍遗漏的故事。

本书按时间顺序分为四个部分，以四种不同的艺术空间命名：宫殿、教室、纪念馆和游乐场。每个部分都探讨了一些艺术作品的迷人、有启发性的、往往令人震惊的故事，包括东印度公司用来合理化其在印度的统治的宣传画；被欧洲人作为 "艺术品 "收藏的带有纹身的毛利人头骨；以及当代艺术家在其作品和今天的活动中对殖民历史的挑战。

Should museums be made to give back their marbles? Is it even possible to 'decolonize' our galleries? Must Rhodes fall?

How to deal with the colonial history of art in museums and monuments in the public realm is a thorny issue that we are only just beginning to address. Alice Procter, creator of the Uncomfortable Art Tours, provides a manual for deconstructing everything you thought you knew about art history and tells the stories that have been left out of the canon.

The book is divided into four chronological sections, named after four different kinds of art space: The Palace, The Classroom, The Memorial and The Playground. Each section tackles the fascinating, enlightening and often shocking stories of a selection of art pieces, including the propaganda painting the East India Company used to justify its rule in India; the tattooed Maori skulls collected as 'art objects' by Europeans; and works by contemporary artists who are taking on colonial history in their work and activism today.

The Whole Picture is a much-

needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.