Nairobi continues to serve as a significant, albeit discreet, hub for the trade of West and Central African art, channeling pieces from across the continent to international markets. Tucked away in Nairobi's central business district, an unmarked location houses multiple storerooms filled with a diverse array of artifacts, from towering masks and Yoruba beaded thrones to patterned Malian "mud blankets" and intricately carved doors. This hidden market represents a crucial link in a supply chain that ultimately delivers these works to shops in London, Paris, and New York.

The city's role as an African art nexus dates back to at least the 1970s, when American collector Alan Donovan co-founded African Heritage, considered the continent's first pan-African art gallery. Donovan spent decades acquiring goods across Africa, which were then sold globally. While his international outlets eventually closed after he ceased his travels in the 1990s, West African traders continued to gravitate to Nairobi, drawn by its historic stability and global connectivity. Francis Mbugua, a 63-year-old Kenyan collector and shopkeeper who once worked with Donovan, attributes Nairobi’s enduring status to its unique blend of African art and the perceived safety it offers compared to regions experiencing conflict.

Traders operating in Nairobi often journey through challenging conditions to procure their goods. Many from countries like Gambia specialize in artifacts from nations such as Benin, Togo, and Nigeria, as well as the conflict-affected Sahel region. These traders typically fly to Ghana several times a year to collect items, which are then freighted to Nairobi. A Cameroonian dealer, for instance, ventures into rural communities in Cameroon and Gabon to find masks, which he might sell for approximately £150 in Nairobi, while similar items can command prices closer to £2,000 in British retail outlets. Another dealer travels from Bukavu in eastern Democratic Republic of Congo, a city previously held by the M23 rebel group, describing the journey as dangerous and fraught with corruption.

The hidden storerooms primarily cater to foreign clients, both young individuals seeking unique finds and, more significantly, bulk buyers from North America and Europe who arrange overseas shipments. The traders, many of whom prefer to remain anonymous due to scrutiny regarding the legal status of their operations, frequently communicate with international clients via messaging apps.

Despite its enduring legacy, Nairobi's traditional art trade faces mounting pressures. Increased stability in some West African regions, the rise of direct-to-consumer online sales, and the influx of counterfeit goods from other countries pose challenges to the market. Traders and collectors alike emphasize the "sanctuary" nature of the hidden market, advocating for its location to remain undisclosed to protect this unique segment of the global art trade.