There are coincidences that reveal much more than appearances indicate, such as the presence on the São Paulo exhibition agenda of a surprising number of selections that focus on the culture, art and memory of oppressed cultures that have long been invisible. They represent the result of a persistent struggle to expand the horizons of a circuit that until a few years ago was closed in on itself. These exhibitions point to a growing understanding of artistic knowledge and practices that are becoming increasingly fundamental to rethinking the contemporary world and seem yet another sign of the exhaustion of Eurocentric models, based on a precarious (and often false) notion of the autonomy of art.
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