The Musée du quai Branly stands on stilts above the Seine embankment, its river façade covered by a wall of fifteen thousand living plants. Inside, a long ramp curls up from the entrance hall and the light drops as you climb; at the top the dark does not lift. Low light protects what is on show — wood, bark, feather and cloth from Africa, Asia, Oceania and the Americas. There are no walls between the four continents, so one runs into the next. A glass tower in the middle holds ten thousand musical instruments on six levels.
The museum holds about three hundred thousand objects and shows three and a half thousand at a time — roughly one piece in a hundred, so what you see is a choice somebody made. The building is a choice too: Nouvel lifted the galleries ten metres off the ground so a garden could run underneath, and you walk in beneath the whole thing. The collections came from two older Paris museums, one of them a colonial museum. Some objects have left for good. Twenty-six royal works went back to Benin in 2021, and the argument about the rest has not finished.