Trending in the margins: contemporary art from Nigeria in the global markets

The study argues that for Nigeria to become a centre of art, supporting a robust domestic market and meaningful international engagements, it must develop adequate arts infrastructure and explore alternative global networks. While the government may not support these independently, considering pressing fundamental demands, it should establish a supportive legislative framework to drive sustainable private interventions.

London was found to be central to the fledgling internationalisation of contemporary art from Nigeria and this is attributable to the Britain-Nigeria colonial relationship and London’s position as a global cultural and commercial hub. The research highlights the underlying prejudice and contradictions in the positive assessment of foreign influences (including Africa’s) on European art and the negative responses to Western inspirations in African modernist approaches.

In addition to expanding the frontiers of knowledge in art history, sociology of art and cultural policy studies, it also enhances our understanding of the exigencies of internationalising contemporary art from marginalised contexts. By drawing parallels in the aesthetic influences in European and African modernisms, the study strengthens the arguments for global modernisms and the correctives to Eurocentric art historiography.