Available on JSTOR at: doi.org/10.2307/3336855
One of the things I remember most about Arnold is his sometimes impassioned, sometimes wry iconoclasm. From the time we were graduate students together at Indiana University, he consistently challenged the accepted truths in Africanist art history. His critique of the Fagg-Dark-Willett interpretation of Nigerian art history is well known (Rubin 1970). Arnold used to tease me about my interest in Benin, calling it “metropolitan myopia.” I think he would have enjoyed finding something outside the expected in the Benin corpus, and it is in this vein that I write this brief note on a hitherto unrecognized woodcarving tradition from the Benin kingdom.