Irreplaceable: Ukrainian Cultural Heritage, War, and the World’s Loss
July 9, 2026
Overview
Since Russia’s full-scale invasion of Ukraine began in February 2022, hundreds of museums, churches, archaeological sites, libraries, monuments, and historic buildings have been damaged or destroyed. As of July 1 2026, UNESCO had verified damage to more than 540 cultural sites across Ukraine, underscoring the unprecedented threat facing the country’s cultural heritage.
What is at stake is more than the destruction of individual buildings or works of art. When cultural heritage is intentionally targeted during armed conflict, the loss extends far beyond national borders, diminishing humanity’s shared cultural legacy.
Renowned Ukrainian-American art historian and curator Konstantin Akinsha gave a timely discussion of the ongoing destruction of Ukraine’s cultural heritage and the international response. Drawing on his decades of scholarship, recent publications, and advocacy before European cultural authorities, Akinsha examined evidence that many attacks on cultural sites are not merely incidental consequences of war but form part of a broader campaign to erase or appropriate Ukrainian cultural identity.
The colloquium explored recent attacks on museums and cultural institutions, including the destruction of facilities such as the Dovzhenko Film Studio and the systematic looting of the Kherson Art Museum, as well as the historical context of Russia’s longstanding efforts to appropriate, suppress, or erase Ukrainian cultural heritage. Akinsha also discussed the legal and institutional frameworks designed to protect cultural property during armed conflict, assess the effectiveness of organizations such as UNESCO, and consider what additional measures governments, international organizations, museums, scholars, and civil society can take to safeguard endangered cultural heritage.
This conversation offered a rare opportunity to hear from one of the world’s leading authorities on Eastern European modernism and Ukrainian cultural heritage about one of the defining challenges of cultural preservation in our time.
A portion of the proceeds will be donated to Memorial Italia, a non governmental organization composed of Eastern European historians, Slavic scholars, translators, and enthusiasts of Russian, Ukrainian, Central Asian, and Caucasian history and culture, interested in the preservation of historical memory and human rights. Find out more about Memorial Italia here.
About the Speaker
Konstantin Akinsha is a Ukrainian-American art historian and curator specializing in Eastern European modernism, recognized for his incisive scholarship and his commitment to authenticating and scrutinizing works within the often-fraught market for Russian and Ukrainian avant-garde art. His work frequently involves investigating provenance and challenging attributions of contested pieces.
Konstantin Akinsha has established himself as a prominent figure in the field of Eastern European modernism, known for his curatorial work and art historical investigations. His extensive career includes significant contributions to understanding and presenting Ukrainian and Russian avant-garde art. Notably, he co-authored a landmark investigation into the prevalence of forgeries in the Russian avant-garde market in 1996, highlighting early awareness of this persistent issue.
His expertise is regularly sought for major institutional projects, reflecting his standing within the art world. He has curated significant exhibitions, including a recent major presentation of Ukrainian modernism at the Royal Academy in London. These projects underscore his role in shaping the discourse around Eastern European art and bringing important historical narratives to a broader international audience.
Beyond his curatorial endeavors, Akinsha is an active scholar and public commentator, contributing articles to various art publications and maintaining a presence on platforms like Substack. His research often delves into the complexities of art authentication, confronting dubious provenances and challenging the historical interpretations associated with contentious artworks. His analyses are typically grounded in detailed art historical knowledge and a critical assessment of market practices.
