Exploring the Common Grounds: Brazil and the U.S.
Although social issues such as anti-racism, feminism, multiculturalism, and LGBTQ+ rights have prompted museums to diversify their collections and include artists from social minority groups in their exhibition programs, and counter-hegemonic notions of art and aesthetics have been vigorously debated by academics, artists, and curators, effective political and epistemic changes in the global contemporary art system have yet to occur. On the contrary, as a result of the contemporary neoliberal instrumentalization of identity-based agendas, the art system has integrated these agendas through a process that, primarily driven by the art market, de-potentializes and commercializes them.[1] So, while social minority eventually obtain representation in the art system, their political demands, identities, and traumas are used to benefit the dominant order. This paradoxical outcome emphasizes the importance of developing separate political acts and cultural interactions capable of dismantling c