If sculpture is the projection of one's thoughts into three dimensions, then the African continent has throughout history produced many of the greatest sculptors of all time, even though no single name has ever been passed down. With the permanent exhibit, we display not only some of the most riveting examples of African art, but also the most disconcerting. These pieces are disconcerting because our western-shaped minds, despite a century of contemporary art concerned with de-compartmentalizing and reconstructing aesthetic ideals, always thirst for classifications and categories that are not possible in this context. The African mask is neither simply an objet d’art in and of itself, nor a simple cultural theatrical accessory. Equally, the sculptor is not just an “artist” because his function goes much further than that of a simple craftsman. The masks on display radiate a beauty and strength admired by Braque, Picasso and Flamenco. These African sculptors can only be considered geniuses. Masks were traditionally used by African societies in the majority of their ceremonies and celebrations such as fertility, initiation rites, religious, funerary or theatrical. These masks were often linked to the deepest ethnic myths. A mask conferred on the person wearing it- for the duration of the ceremony- the essence and powers of the spirits and ancestors it symbolizes. It was believed that the wearer of the mask was protected from its powerful magical powers. The majority of pieces exhibited in our collection are refined masks of assemblages that have lost their decorations of vegetable fibers and dried leaves whose rustling accompanied the rhythmic movements of the dance and contributed to the performance. Wood sometimes set off by nails or shells is often most utilized in making the mask, but even human or animal teeth and hair were sometimes added to enhance its effect.