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Figurative art made in Central and West Africa for the global market is a form of tourist art – a category that has been plagued in art historical research by misconstrued concepts such as the authenticity of traditional/precolonial art. Following its categorisation as a commodity, studies focused on the decontextualisation of the object, thus marginalising the producing culture. In this article I investigate the role of the artist in preserving tradition and the role of the trader who, as cultural broker, exoticises the object. Since it can be argued that these are acts of decolonising, African tourist art can be regarded as a product of the postcolonial exotic, as defned by Graham Huggan (2001). Accepting the inescapability of postcoloniality, tourist art can be repositioned as a successful attempt to preserve and promote African cultural traditions and identity in the new era. [ABSTRACT FROM AUTHOR]