By Prisca Sam-Duru

In Lagos, a gathering of minds recently underscored a truth too often overlooked: art is not merely acquired, it is safeguarded. The Society for Art Collection (SARTCOL), in partnership with Alliance Française, convened its flagship colloquium at the Mike Adenuga Centre, bringing together collectors, curators, legal experts, and financial strategists in a rare convergence of intellect and vision.

The art event was themed, “Art Collecting and Preservation: Best Practices in Documenting and Protecting Your Collection”. Introducing the event with a forceful appeal for action, President of SARTCOL, and a respected philanthropist, Dr. Okey Anueyiagu declared that Africa’s artistic legacy must be preserved with rigor, not sentiment. His words set the tone for a day that challenged assumptions and demanded accountability from those who hold cultural treasures in their care.

Olufemi Akinsanya, founder of the Femi Akinsanya Art Collection, delivered a keynote that reframed the collector’s role. To him, collectors are not passive custodians of beauty but architects of continuity, ensuring that art remains a living dialogue across generations.

The panel discussion was a masterclass in responsibility. Speaking, Deputy Director and Curator at the National Museum Lagos, Nkechi Adedeji reminded the audience that “a work not documented lacks history,” urging collectors to treat record-keeping as a sacred duty rather than an afterthought. Shola Tinubu, Board Director at SCIB Nigeria & Co. Ltd and past President of NCRIB, turned attention to the neglected terrain of insurance and valuation, warning that acquisition without protection is a hollow exercise. Adding a sobering perspective, Chairman of PENHALL Consult, Dr. Dakuku Peterside, exposed the absence of a national database for collections, a gap that leaves Nigeria’s artistic wealth vulnerable to obscurity and loss. In closing, Co-Founder of SARTCOL and Nigeria’s first Professor of Corporate Governance, Fabian Ajogwu, SAN, bridged law and art with authority, offering practical frameworks for navigating authenticity, ownership and provenance in a market where disputes can erode trust.

In a post-event reflection, Yacoub Adeleke, Head of Operations at SARTCOL and curator of the colloquium, emphasised the deliberate planning behind the panel’s composition. “We weren’t simply seeking experts, we wanted voices capable of shifting paradigms,” he remarked. “What distinguished this gathering was not only the stature of its participants, but the depth and clarity of the insights they offered. They dissected the collector’s role within the cultural ecosystem with precision and passion…Acquisition is only the beginning. It is the grasp of valuation, insurance, documentation, and legal frameworks that truly safeguards and preserves legacy.”

The colloquium turned out to be more than an event; it was a clarion call. It demonstrated that art preservation is not the responsibility of museums alone but of every collector and stakeholder who dares to engage with culture. The ripple effects are already evident and the Society for Art Collection has positioned itself as a vanguard in shaping Africa’s future of art stewardship.

The challenge now is clear. Collectors must embrace their role as custodians, not merely consumers. Institutions must build the infrastructure, databases, valuation systems, and insurance frameworks that make preservation possible. Stakeholders must recognize that supporting art is not charity but investment in cultural continuity.