By Yunuen Díaz

In recent years, we have seen a growing concern for showcasing art from countries that do not belong to the hegemonic cultural centers, emerging from the area referred to as the “Global South.” However, the category “South” remains problematic, as it continues to differentiate, hierarchize, and perpetuate a way of understanding the world in which the “North” defines the rest as otherness. While the attempt to give representation to these areas may be genuine, discussing the “South” can also become a mere label that positions institutions as “inclusive” without a real interest in questioning hierarchies or in deeply understanding the aesthetic concerns arising from such diverse contexts.