Accra, Ghana – Renowned Ghanaian contemporary artist Ibrahim Mahama, celebrated internationally for his large‑scale installations and critical explorations of labour, history and global exchange, has accused members of the Ghana Police Service of assaulting him in his hometown of Tamale. The internationally acclaimed artist — whose work has been shown at major global events including the Venice Biennale — detailed the incident in a public statement this week, sparking debate about police conduct and accountability.

According to Mahama, the alleged assault occurred on March 21, 2026, while he was travelling by car in Tamale with family members after Eid‑ul‑Fitr prayers. He claims while they stuck in traffic operatives from a special police unit known as the Black Maria confronted the vehicle, asked them to move the car and eventually used excessive force against him and his uncle, and caused bodily harm — leaving him with injuries to his teeth, lips and ribs and blood‑stained clothing that he later displayed publicly.

Mahama has announced his intention to pursue legal action against those he believes are responsible. He insists the encounter was unprovoked and has called for transparency and accountability in the investigation into the event.  As a result of the incident, he has suspended all professional commitments, including lectures at the Royal College of Art in London, Cambridge University, and Oxford University.

“We have to do it, because it’s not for me alone, but for everyone else,” he told local media. “If this could happen to me, someone well-known, what about people on the streets?”

The Ghana’s Police Professional Standards Bureau has launched an internal investigation into the matter through the Northern Regional Command, with senior officials meeting Mahama as part of efforts to clarify what happened. Police statements have denied that the Black Maria unit was involved, saying the team had been withdrawn from the region before the date of the incident. Nevertheless, the episode has highlighted broader concerns about police‑citizen interactions and the need for independent oversight.

Supporters of Mahama, both in Ghana and across the international arts community, have backed calls for a fair and impartial review of the case, arguing that even prominent cultural figures must be protected from abuse and that public trust in law enforcement depends on accountability.

As the investigation continues, the incident has stirred conversation about civil rights, institutional power, and the everyday realities faced by Ghanaian citizens, with many looking to see how authorities respond to Mahama’s allegations in the days ahead.