In Venice, the Punta della Dogana tells the striking trajectory of activist artist Paulo Nazareth

Brazilian artist Paulo Nazareth (b. 1977) has mounted a major exhibition at the Punta della Dogana in Venice, working remotely to honor his pledge not to set foot in Europe until he has walked through all 54 African countries. The show includes a striking new installation: a line of salt tracing the shape of a slave ship (tumbeiro) on the first floor, evoking the hundreds of enslaved people who died in such vessels. Other works range from embroidered dishcloths and spontaneous photographic self-portraits to cardboard signs and resin-encased packaging critiquing racist marketing, alongside fragile handmade boat models that echo refugee crossings. The exhibition, titled "Algebra," was curated by Fernanda Brenner and runs through 2026.

This exhibition matters because it brings Nazareth's powerful, body-centered critique of colonialism, slavery, and global inequality into one of the most opulent art venues in the world—the Punta della Dogana, part of François Pinault's collection. The stark contrast between the artist's humble, politically charged objects and the luxury setting underscores the tensions between art, wealth, and historical trauma. Nazareth's refusal to travel to Europe until completing his African journey adds a performative dimension that challenges institutional norms and centers the Global South's perspective in a major European exhibition.