( CNN ) -- The last time most New Yorkers focused on pillaged antiquities from Cambodia was likely after the release of the Angelina Jolie film `` Lara Croft : Tomb Raider , '' which featured the heroine 's adventures through the country 's famous archaeological wonder , Angkor Wat . Now , real `` tomb raiding '' is making the news as the Cambodian government seeks to recover antiquities allegedly plundered from the kingdom 's ancient sites during its civil war , ethnic cleansing and foreign occupation . At Cambodia 's request , the United States recently filed suit in U.S. District Court against Sotheby 's in New York , demanding that the auction house forfeit a sandstone warrior that was `` illicitly removed , '' according to the complaint , from a remote jungle temple . But according to a recent New York Times story , Cambodia has now set its sights on another Manhattan institution : the Metropolitan Museum of Art . It has specifically targeted the highlight of its Southeast Asian collection : two kneeling figures that archaeologists declare are companions to the contested Sotheby 's piece . If these stones could speak , what a story they would tell . Carved in the 10th century by some of the most skilled artisans known to history , they originally adorned the sanctuary of Prasat Chen , at the temple complex of Koh Ker . Experts believe that with other characters , they formed a three dimensional tableau from the Hindu epic the Mahabharata for a millennium . They say that came to an end when paramilitary groups trafficked them , sculpture by sculpture , overseas . What a strange twist of fate : Having traveled halfway around the world , quite possibly through the illicit and licit markets , the three disputed objects are now just miles apart in New York City . Phnom Penh 's forceful request for their return has alarmed the less scrupulous in the art world , and with good reason : They have a lot to lose if the art is repatriated . American and European galleries , auction houses and museums are allegedly full of Cambodian plunder . Many of these artifacts were allegedely stolen during the country 's long conflict , making them `` blood antiquities , '' little different than `` blood diamonds '' from Sierra Leone and other war-torn African states . The years before , during , and after the Killing Fields decimated the Cambodian population and led to the looting of most of the nation 's archaeological sites . Yet sadly , now that Cambodia is at peace and in a position to recover its rightful property , some collectors are portraying themselves as the victims . In the wake of the Sotheby 's case , one Asian specialist lamented the `` crisis '' now facing collectors . She warned that such legal actions `` threaten the very future of collecting and collecting museums '' and the `` next generation of collectors , donors and patrons . '' Such histrionics aside , it will always be difficult and expensive for countries such as Cambodia to recover their pillaged heritage through the courts , even when in the right . Especially when its acquisition may have been made possible by tragedies such as the Holocaust , Cambodia 's killing fields or even the more recent looting of the Baghdad Museum during the Iraq war , the real issue is why any collector or museum would want to possess stolen art ? Thankfully , individuals and institutions who would argue to keep looted art are a minority and do as much disservice to their fellows as they do to victims of the illicit art trade . Indeed , many have voluntarily repatriated antiquities to Cambodia , once learning they were wartime plunder . The Met is no exception , having itself returned a valuable piece to the country in 1997 at its own initiative . There is much common ground between archaeologists , collectors and curators , as all share a love of the past , if not an outright obsession with it . Archaeologists recognize that there will always be , and should be , a legal market for antiquities , just as most collectors and curators agree that the looting of archaeological sites and trafficking of antiquities must be stopped . Indeed , if there is to be any real progress , both sides of the issue will likley have to make concessions . But as campaigns like Cambodia 's demonstrate , the art world must reconsider what is ethically acceptable . And today , the sale , purchase and exhibition of `` blood antiquities '' is not only deplorable , it may actually be criminal . ( The sale , possession , and transport of stolen property is illegal under the National Stolen Property Act . ) Sotheby 's and the Met have a choice : They can treat Cambodia 's requests as obstacles , or recognize them as the opportunities they are to right past wrongs and set the moral standard for the entire field . For Cambodia 's sake , as well as their own -- and for all of humanity that finds these treasures important -- let us hope that they choose wisely . The opinions expressed in this commentary are solely those of Mark Vlasic and Tess Davis .
Writers : Met and Cambodian 's have ancient art thought to have been looted in Cambodia . Thai authorities have attempted to seize Cambodia 's figures ; now Cambodia seeking those at auction . However , Davis say some in art world act the same because Cambodia wants its art back . Writers : Why would anyone want stolen art ? Both sides must make reasonable concessions .