There are only a few weeks left to savour the British Museum’s universally-praised exhibition of 100,000 years’ worth of South African art.

The exhibition itself, South Africa: the Art of a Nation, takes visitors on a journey from our ancient shared artistic history – the Makapansgat Pebble, for example, is about 3million years old – to creations borne out of Colonial upheaval, to Mandela-era political pieces.

Highlights from the show, sponsored by IAG Cargo, include the 13th century Golden Rhinoceros of Mapungubwe, found on a royal grave in 1932, a collection of ornate snuff boxes, and Transition by Willie Bester, a passionate piece from the 1994 concerned with the persistence of racism in post-Apartheid South Africa.

It’s a painstakingly crafted exhibition of both art and social history, and it will hold the attention for at least two hours if done properly.

And, most tellingly of all, it is one which stays with you. It successfully challenges our Eurocentric view of culture, and challenges the visitor to consider how British colonialism has fundamentally impacted not only the creative output of South Africa, but that of its entire continent and beyond.