In what ways did the exhibition Magiciens de la Terre function as “curatorial correctives” to marginalized or invisible Global South perspectives and artists, as well as offering counter-hegemonic alternative viewpoints about art history and contemporary art?

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In what ways did the exhibition Magiciens de la Terre function as “curatorial correctives” to marginalized or invisible Global South perspectives and artists, as well as offering counter-hegemonic alternative viewpoints about art history and contemporary art?

 

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