This essay will attempt to discuss why the ownership and location of Benin art has been constantly debated between European museums and the people of Africa, particularly Nigeria , formerly known as the Kingdom of Benin. How both parties actively seek a negotiated method that will allow both parties to satisfy their needs; This is of course a method that has not yet been solved. Museums, who want to exhibit their works to the world alongside countless other historical objects from other countries and Africans who want their cultural sculptures returned to their territory because of the provocative method with which the art of Benin has been initially taken and for dismissal in recognition of their right to make a decision on the fate of the bronze coins. In the early years of the 19th century, Western Europeans believed that much of Benin's 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 Europeans” (Woods, 2008, p. 6). It is already consistent that Beninese art existed before the arrival of Europeans, but since the seizure of the works of art in 1897, it is believed that it rightfully belongs to the people of the world and it is locked away in Western museums of the whole world. “The British Museums now display their treasures, including works of art from Benin, as an archive of intertwined global histories, held in trust for all humanity” (Woods, 2008, p. 4). Africans, however, consider 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 ...... that Africans think so. On the other hand, museums want nothing more than for art to sit alongside other great objects 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 maybe the museums want the artwork to benefit the whole world, while the Africans want it for cultural reasons. Reading 2.6. (2008). Artworks of Benin City, 83-84.Dalton, R. a. (1898). A description of one of the plaques (Plate 3.2.27). In D. Loftus and P. Wood, Cultural Encounters (p. 84). Open University. Dalton-Johnson, K. (2008). Who owns the Beninese sculptures? .Spring, C. (2008). Who owns the Beninese sculptures? London. Woods, K. (2008). The Art of Benin: Changing relations between Europe and Africa I. Milton Keynes: The Open University.