Ziv Schneider. Art Detective: The Museum of Stolen Art, 2015; Android VR app. Courtesy of the Artist.

Ziv Schneider’s Museum of Stolen Art (MOSA) (2014–) employs virtual reality (VR) to rethink how museums and technology approach embodiment, audience, and collections. As a smartphone app, MOSA allows viewers to navigate virtual galleries, complete with audio tours that contextualize its exhibitions and pop-up didactic texts about the individual works. In harnessing VR’s imaginative possibilities, MOSA displays absent artworks—those that have been removed by criminal acts, war, or dubious historical agreements, domestically and abroad. As a virtual environment, MOSA’s fluid relation to place and audience challenges how museums attempt to represent and inscribe local cultural identities, as well as construct a global citizenry. With several rotating exhibitions spanning from ancient to contemporary civilizations—Stolen European Paintings, Stolen Photographs, The Looting of Afghanistan,The Looting of Iraq, and Recent Thefts are currently on view—MOSA addresses the individual and cross-cultural heritages of Europe, the U.S., and the Middle East. Indirectly, MOSA suggests that conflict and war have been instrumental in many art thefts around the world, historically and more recently. While operating didactically, MOSA also includes many voids that invite questions about museums’ strategies and missions.

As many museums expand, their architectural presence marks their escalating cultural and economic interests. In addition to being repositories of art, brick-and-mortar museums are cultural brands that cities use to elevate or maintain their status as culturally relevant and as tourist destinations. As a VR museum, MOSA sidesteps the battle for cultural capital among conventional museums by offering immateriality and simulation. Downloadable for free, MOSA is portable and easily accessible to anyone with a smartphone and a Cardboard viewer. Viewers make MOSA present where they are, rather than having to travel to a place, either within one’s city or beyond.

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Stephanie Syjuco. RAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____) (installation view), 2011; digital archival photo prints mounted onto laser-cut wood, hardware, crates; dimensions variable. Courtesy of the Artist and Catharine Clark, San Francisco.

Much of the history of museum collections is related to the concentration of wealth and power of empires, and more recently corporate monopolies. While museums take great care in contextualizing the aesthetic, cultural, and historical significance of their artworks, they often omit most of their object’s acquisition histories. These backgrounds, extending from antiquity to present, would most likely include emperors and profiteers, along with their contemporary counterparts: the business tycoons that museums name as donors. InRAIDERS: International Booty, Bountiful Harvest (Selections from the Collection of the A____ A__ M_____) (2011) and Empire/Other (2013–ongoing), Stephanie Syjuco alludes to the questionable acquisition of museum artifacts. In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization. Syjuco’s web-sourced imagery and 3D manipulations create imperfect objects that declare their simulation while entering into the same economic exchange system as the artifacts that they reference.

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