The 36th Bienal de São Paulo, curated by Bonaventure Soh Bejeng Ndikung, has drawn criticism for its unconventional and problematic approach to exhibition didactics. The show featured floor-mounted placards with QR codes, labels placed far from the corresponding artworks, and extremely lengthy, omnibus section texts for its six chapters, creating a confusing and frustrating viewing experience.
The debate over wall texts and labels is a significant flashpoint in contemporary curatorial practice, touching on issues of accessibility, curatorial authority, and the nature of the art encounter itself. The Bienal's organizers framed their minimalist labeling strategy as a democratic move to encourage direct engagement with the art and decenter colonial languages, but critics argue it ultimately hindered understanding and access to essential context for the 125 artists and 1,200 works on view.