Carpet manufacturing during the Qajar period was dominated by the establishment of multinational corporations who invested heavily in the production of Persian carpets. The management method used by these companies inside developing countries was based on exploitation. These companies encouraged the carpet manufactures to weave inexpensive carpets of low quality and cheap coloration due to the use of chemically-unstable ink colors, which were suitable for European and American markets. These corporations encouraged economic profitability over quality.
Curating Iranian art, an indistinguishable discourse from the overall knowledge production about target societies, becomes an occasion to debate the ramifications of global/local binary anew as a form of philosophical concern as an existentially entangled with geopolitical history and aesthetic heritage. Can a diasporic conceptualization of local existence be salvaged through its global pursuit of truth without having to resort to ready-made methodological channels of identity, culture, and history?