As an art historian, my job is to look askance at words such as “masterpiece”, and to question the canon of “great art”. In my spare time, I have also sprayed chalk paint on civic structures in protest at the lack of action on climate. So at first I expected to view the latest attacks on art as shocking but justifiable. After all, do these attacks not also reveal the fragility of what we hold dear? Do they not make us think about what we want to save for the next generation? Yet the answer to these questions, I decided, is mostly no. Instead, these attacks feel part of a helpless careering towards climate chaos.

As splash after splash of acidic liquid hits the glass casings of art works by Van Gogh, Monet, Klimt, and now Emily Carr, everyone around the world who sees the photographs and footage is going through the same mental process: an astonished intake of breath, followed by the realisation that everything is actually fine. The art work is safe behind glass, tightly sealed by expert conservators. What looks dangerous is a mere spectacle, not a reality.