Borys Malkin (1917-2009) is arguably one of the most important yet least known twentieth-cen-tury collectors of Indigenous material culture from South America, with especially numerous collecting expeditions to the Amazon region. In fact, his contact with museums worldwide and the systematic way in which he collected and sold his materials can be characterized as a form of wholesale collecting that rested upon the creation of chains of supply and demand typical of a market economy. In this article, we explore the ways in which Malkin engaged with Indigenous peoples, intermediaries, and museums in South America, North America and in Europe in order to create this network of “producers” or “suppliers”, on the one hand, and potential buyers on the other. We do so by presenting information about the scope and breadth of his Indigenous collections, and then investigating his modus operandi. We conclude that the successful spreading of his collections in various museums and the constant pres-ence in exhibitions of objects from collections formed by Malkin shaped, in a significant way, the face of Lowland South America in ethno-graphic museums of the Global North.

Journal for art market studies

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Fernandes Caromano, C., & Mariana Françozo. (2023). One Cara Grande for Each Museum in the World: Borys Malkin and the Formation of Lowland South American Indigenous collections (1960-1970). Journal for art market studies, 7(1).