Emerging from a shift in the relationship between archaeology and museums, the ‘Making the Museum’ project investigates the makers of the archaeological and ethnographic collections of the Pitt Rivers Museum in Oxford, positioning archaeological theory and method as essential tools for uncovering the ‘hidden histories’ of these makers.

Digital technology facilitates remote access to archaeological collections and offers an accessible platform for knowledge sharing and innovative storytelling. Here, the authors present a newly developed online museum resource co-curated by archaeologists and the descendant community in Quinhagak, Alaska.

The ethical treatment of human remains after excavation is a core debate in archaeology. This project explores the treatment of human remains in some European museums with an aim to support open discussion of complex ethical issues among research and heritage professionals involved in the care of human remains.

Religious practice in the Roman world involved diverse rituals and knowledge. Scholarly studies of ancient religion increasingly emphasise the experiential aspects of these practices, highlighting multisensory and embodied approaches to material culture and the dynamic construction of religious experiences and identities. In contrast, museum displays typically frame religious material culture around its iconographic or epigraphic significance. The author analyses 23 UK museum displays to assess how religion in Roman Britain is presented and discusses how museums might use research on ‘lived ancient religion’ to offer more varied and engaging narratives of religious practices that challenge visitors’ perceptions of the period.

Calls for the restitution and repatriation of cultural objects continue to escalate. High-profile cases such as the Parthenon Frieze and the Benin Bronzes dominate international news cycles and provoke fierce debate; however, less attention has been paid to items that are quietly returned and to the potential positive outcomes for the institutions on both sides. This article discusses three Southeast Asian case studies to address this lacuna and urges institutions to become more proactive in their engagement with restitution and repatriation claims.

Current debates surrounding decolonisation and the democratisation of display are a critical issue for prehistoric collections as well as more recent material. The objects most likely to symbolise prehistory in museum displays, and thus in the popular imagination—those made of precious, skilfully worked materials—are a restricted group of iconic things, often interpreted as reflective of social status rather than anything more personal or spiritual. To contextualise this debate, the authors outline public reaction to the display of alternative objects with more representative messages within The World of Stonehenge exhibition, which was held at the British Museum in 2022.

White marble sculpture is a cornerstone of Western art history. Archaeological inquiry, however, has demonstrated that Classical sculpture and its associated architecture were once coloured. The authors examine the Parthenon Sculptures at the British Museum to identify traces of colour and carving on their surfaces. Using close examination and archaeometric techniques, the study shows that the sculptors finished surfaces with textures that reflected specific elements (e.g. skin, wool, linen) and these were then enhanced through the application of colour, including a purple colourant and Egyptian blue. The latter was used extensively to paint elaborate figurative designs on the carved textiles. Despite the complexity of the carved drapery, elaborate ornament was applied to the finish. The findings encourage a reconsideration of the appearance of the Parthenon in the fifth century BC.

Prehistory comprises millions of years and encompasses a diverse range of social, cultural, economic and technological practices. Despite its widespread public popularity, understanding of the chronology and developments of this vast expanse of human history is frequently anachronistic. Here, the author uses the results of museum visitor questionnaires and tracking surveys to assess public preconceptions of prehistory and engagements with museum displays. In addition, the article documents and explores 173 prehistory displays in museums in England, identifying trends in representation. The results point to some significant representational disparities affecting the display of prehistory and highlights some opportunities for reimagining museum prehistory displays.