They also maintain a gazetted list of pieces which are national cultural property and may not be exported. There are further restrictions, including anything made before 1960, traditional stone tools, human remains and Bird of Paradise feathers. Indonesia is mostly concerned with antique items from their numerous archeological sites. There are not many fakes in New Guinea or Indonesian art because the prices for most pieces are still quite reasonable. 1997 Craftspeople in Indonesia often work in extended family workshops where each person constructs part of the finished item.
Some villages specialize in a particular form or part of a final form.
Much of Indonesia has a history of highly developed court cultures that sponsored groups of craftspeople and provided a market for their products, just as in Europe. Other more remote areas have a pattern similar to New Guinea where the demand is village based, although some items were traded extensively. In New Guinea, the Chambri potters of the Sepik River trade their clay storage pots and fireplaces all along the river, and the coastal Kula Trade routes are well documented in the anthropological literature. Wood carvers and painters of bark panels are almost always men. Potters may be male or female depending on the region.