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The origin of the artworks, in fact, touches all of the lands of the continent, including the southern and eastern lands rarely so authoritatively represented in other collections, and their execution covers an arc of time of several millennia. The presence of ancient works contributes to the demolition of the preconception that has weighed unfairly until recent years on African art, and that is the absence of evolution in the artistic creation of Black Africa, and therefore of any historic quality. This is a difficult negation to cancel if African sculpture is still often labeled as ""primitive."" A third meritorious quality of Horstmann lies in the fact that he chose the sculptures in his collection, not out of any generic passion for the exotic and neither for any abstract demand for representativity of ethnicity or significance or destination, but for their quality, for the enchantment of the ""form,"" or better, of the ""forms"". For some time in African art there has been a tendency to judge an object's aesthetic quality in broad terms that separate it both from its function and social environment. It is obvious the one cannot exist without the other. Objects have, for the most part, been described but not appreciated for their particular aesthetic value. This book is to support an aesthetic sensibility without ignoring social and functional principles.

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