Thinking Blackness in Pan-American Artistic Networks: The Case of the Bienal de São Paulo
![](https://afterall-wp.imgix.net/sites/13468/2023/06/3_Four_innocent_wretches_executed_Philome_Obin.jpeg?auto=format&fit=crop&crop=faces%2Centropy&q=60&dpr=1&w=680)
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.