The Anonymous Visual Artists clearly presented the action as an artistic and decolonial political happening and explicitly expressed a desire to revisit and rearticulate Denmark’s colonial history. Despite this, the action was widely condemned, either as an attempt to erase history – a form of iconoclasm – or even as an “attempt at a violent takeover at the centre of society.”3 Throughout the weeks following the action, leading art institutions joined conservative politicians and liberal and right-wing media in an attempt to silence the happening and the questions that the Anonymous Visual Artists wanted to raise in the Danish public sphere. For example, one of the major daily newspapers called for Katrine Dirkinck-Holmfeld – who led the Institute of Art, Writing and Research at the Royal Academy before she was asked to leave the position after taking responsibility for the bust-action – to be locked up.