The recent São Paulo Biennial, curated by Bonaventure Soh Bejeng Ndikung, has sparked significant backlash from both the public and critics alike due to the perceived arrogance of the artistic direction, which controversially chose to conceal the names and contexts of the artists' works. This decision created a disconnection between the audience and the artists, exacerbated by the heavy architectural design of the exhibition, which many felt obscured rather than highlighted the artworks. Colorful curtains and overwhelming décor became common points of criticism, indicating a failure in presenting the artists' intent effectively.

Notably, discontent was not limited to spectators; many artists participating in the exhibition expressed their dissatisfaction in informal settings, openly discussing their frustrations with the exhibition's arrangement. This reaction highlights a broader concern within the contemporary art community regarding transparency and accessibility to artistic intent. The disapproval from the artists themselves signals a disconnect that the Biennial's leadership must address to maintain its reputation as a significant event in the global art calendar.

The São Paulo Biennial is one of the world's most important contemporary art shows, second only to the Venice Biennale in terms of tradition and impact. The board’s decision to revise contracts with curators seems to be a direct response to the criticism and is indicative of a need for change in how the exhibition operates and engages with both artists and the public. This episode may lead to a reassessment of curatorial practices not only in Brazil but also in international art exhibitions, advocating for greater collaboration and inclusivity in the arts.