Matthew Campbell's new book, The Man Who Stole the Gods, examines how Khmer sculptures from Cambodia became prized objects in major Western collections, and why their journeys are now being re-evaluated through the lens of provenance and cultural responsibility.
At the center of the story is Douglas Latchford, an English dealer who built a long-running network around Khmer antiquities after moving to Bangkok in the 1950s. Campbell describes how temple sculptures, many removed from ancient sites during periods of instability, were funneled through smugglers, dealers, and collectors before entering museum collections.
The discussion also highlights the role of institutions such as the Metropolitan Museum of Art, which has expanded provenance research in recent years. Campbell argues that greater transparency could help museums better explain how objects entered their holdings and strengthen public trust in cultural stewardship.
For Cambodia, the issue is not only about ownership but also about restoring context to works created for sacred spaces. The return of selected artifacts has already shown how repatriation can reconnect heritage objects with the communities and histories that shaped them.
Campbell sees this moment as an opportunity for museums to turn provenance into a richer public conversation, where visitors can learn not just what they are seeing, but how these objects traveled across centuries and borders. In that sense, the future of museum culture may be defined by openness, accountability, and a deeper respect for heritage.