Bruges, the Belgian city famous for its picturesque canals and medieval architecture, is hosting an exhibition that aims to challenge the Western-centric view of history. However, the show’s ambitious dual mission—to decenter Europe while simultaneously showcasing Bruges’ global connections—may prove more than its curators can handle.

The exhibition, titled 'Bigger Picture: Connected worlds of Bruges 900-1550', features over 250 objects, from chain mail jackets to religious relics, spread across four distinct 'worlds' defined by intricate soundscapes and visual designs. Each world is a carefully crafted installation meant to transport visitors through time and space.

While the exhibition promises to offer new perspectives on Bruges’ historical ties to the rest of the world, the conflicting briefs—decenter Europe and demonstrate Bruges’ centrality—have left the show off to a bumpy start. Curator Peter Frankopan, an Oxford medievalist, hopes to challenge the idea of Western dominance through his video presentation and the vast array of artifacts on display.

The exhibition’s complex layout, with its dramatized lighting and thematic enclosures, aims to create a dynamic and immersive experience. However, the sheer diversity of the objects on display poses a challenge, with some pieces, like the ancient silk shreds, being underwhelming in comparison to more iconic works by artists like Titian.

As the exhibition seeks to decenter the West, it faces the delicate task of balancing its mission with the practicalities of displaying such a varied collection. Whether it succeeds in redefining Bruges’ place in the global narrative remains to be seen, but one thing is certain: the journey to decenter the West may be as bumpy as the exhibition itself.