Chapter 4 explores how Western museums of art and culture have become important arenas for new forms of bridge-building as well as critical interrogations of the Eurocentric bias inherent in these institutions. It focuses on artists’ interventions in which the artist takes on the role as an interlocutor within the discourse of museum collections. This strategy has been used for more than two decades and gives evidence that one of the most efficient means of institutional critique and of deconstructing Western museums as cultural spaces is to invite a critical artist to make an intervention. Some artists have coupled interventionist strategies with decolonial and postcolonial critique. American artist Fred Wilson’s groundbreaking installation ‘Mining the Museum’ (1992) effectively disclosed the underlying syntax of coloniality and the hegemonic relations of power that shape museums, culturally, socially and economically. Chapter 4 proposes that such institutional interventions are a means to turn museums into sites of contamination capable of including formerly repressed histories and migrating memories. To substantiate this proposition, the chapter turns to Yinka Shonibare’s exhibition Garden of Love at the Quai Branly Museum (Paris, 2007) and Rina Banerjee’s exhibition Chimeras of India and the West at the Musée Guimet (Paris, 2011).