Abstract

One of the most remarkable exhibitions in the 13th Dak'art Biennale, “The Bell of the Ants,” was not part of the official program, but rather an independent show mounted by the long-time Dakar-based collective “Laboratoire Agit'Art.” This essay offers a historically-grounded analysis of the relationship between the exhibition and the biennial at large, exploring tensions between the global and local aspirations and modern and contemporary formulations it embodies.

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