decided to return a tattooed head to New Zealand. Since 2003, the Te Papa Tongarewa, New Zealand's national museum, has embarked on a program of requesting the return of Maori remains held in institutions around the world. While the MQB was initially reluctant to return the mokomokai to New Zealand, a change in French law in 2010 allowed for discussions which resulted in repatriation. The mokomokai were formally returned to New Zealand on 23 January 2012 and they are now housed at Te Papa and are not on display. Australian Art Market Report, Issue 23, Autumn 2007, pages 32–34: "Twelve months after the opening of Musée du quai Branly in Paris, journalist Jeremy Eccles takes a look at what effect, if any, the museum" (where contemporary Aboriginal art forms an integral part of the architectural structure) " has had on ... Aboriginal art". In this article, he quotes Bernice Murphy – co-founder of the Sydney MCA and now National Director of Museums Australia and Chair of the Ethics Committee of the International Council of Museums. She told a Sydney symposium on "Australian Arts in an International Context" that she found the whole of Quai Branly to be a "regressive museology" and the presentation of Aboriginal art "in a vegetal environment" to be "an exotic mise en scène" in the worst taste. There is some speculation that the museum also plays a key political role for France. At the time the museum opened in 2007, France was still attempting to reconcile increasing ethnic diversity among the nation's population within its republican model of assimilation, and even homogeneity. From this perspective, the museum can be seen as a symbolic effort to reach out to non-Western peoples of the world, while also proclaiming French openness to the world. Given this supposed motivation behind the museum, there has been some controversy among intellectuals as to what the museum's ultimate purpose is, and whether or not the presentation of the galleries actually achieves this purpose. Furthermore, there has also been controversy as to whether the artifacts on display should be viewed as anthropological objects or as pieces of art. The Portuguese anthropologist Nélia Dias grapples with this question by examining the tension between museum anthropology and general museum practices. In conclusion, she writes, "If the dichotomy of formal presentation versus contextual presentation is no longer relevant to museum anthropology practice, Branly does not seem to