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Thinking Blackness in Pan-American Artistic Networks: The Case of the Bienal de São Paulo

Philomé Obin, Four innocent wretches executed, date unknown, oil on board. Courtesy Collection Musée d’Art Haitien
Art historian Bruno Pinheiro examines early editions of the Bienal de São Paulo (1951–59). Through a detailed discussion of the relationships between local interests and the ideals of Pan-Americanism, the author shows how racial questions became part of artistic and curatorial conversations as well as how the construction of Pan-American networks excluded Black artists.