Carlos Garrido Castellano lectures at University College Cork. He is the author of Beyond Representation in Contemporary Caribbean Art (2019), Art Activism for an Anticolonial Future (2021) and Literary Fictions of the Contemporary Art System (2022), having written extensively on cultural activism, postcolonial studies and artistic and curatorial practice. Bruno Leitão is a Madrid and Lisbon-based curator, and Head Curator of FAS; he is a co-founder of Hangar, and was its curatorial director until 2021. As a curator, he aims to mediate in the context of art and sociopolitical and civic agency, working with artists from all latitudes to decentralise and challenge the Western canon.

This is a timely and ground-breaking volume. . . . For the field of Iberian Studies in particular, it offers not only a much needed opportunity to broaden its active 'cultural archive"'beyond the traditional literary core, but also to incorporate and question concepts of peripherality and coloniality. For Spanish and Portuguese art studies, the volume proposes an innovative comparative approach, one that not only links and contrasts curatorial practices in both countries, but also places them in a wider artistic, geocultural and academic context, and in relation to their own colonial practices.

• AcknowledgementsList of IllustrationsList of ContributorsIntroduction: Fictions of Cosmopolitanism, Spectacles of Alterity. Curating and the (Un)Making of Coloniality in Contemporary Iberia. - Carlos Garrido Castellano and Bruno LeitãoPart I: Displaying ColonialityChapter 1: Remapping Disciplines, Displaying Possibilities. A Curatorial Studies-Based Approach to Iberian Studies. - Carlos Garrido CastellanoChapter 2: Curatorial displacements in Spain before and after the 2000s: Coloniality tricks, exhibition eclipses and critical agencies. - Olga Fernández LópezChapter 3: The Exhibition as Representative Strategy for Cultural Diversity: Barcelona, 1992-2011. - Pep DardanyàChapter 4: Displaying Postcolonial Spain. A Conversation between Juan Guardiola and Carlos Garrido Castellano. - Juan Guardiola, Carlos Garrido CastellanoChapter 5: - Discourses of the Common Public Space: Identity, Memory and History in the Exhibitions of Autonomous Galicia. - Manuel GagoChapter 6: Curating Equatorial Guinea: Narratives of Spanish Colonialism in Central Africa as Told through Exhibitions. - Inés Plasencia CampsPart II: Curating beyond Exhibition-MakingChapter 7: What’s Someone Like You Doing in a Place Like This? Curatorial Processes, Ethno-Racial Agency and Coloniality in the Spanish State - Suset Sánchez SánchezChapter 8: Négritude: Approximations of a Century of Artistic Relations between the Canary Islands and Africa - Adonay BermúdezChapter 9: Visible Matters. A Short Exchange between Elvira Dyangani Ose and Carlos Garrido Castellano - Elvira Dyangani OseChapter 10: The Gulbenkian Foundation’s Próximo Futuro Programme and the Challenges of Curating Difference - Bruno LeitãoChapter 11: Documenting Postcolonial Curating. Thoughts on Buala One Decade On - Marta LançaPart III: Insurgent InterventionsChapter 12: Rumors: Representations: Revolutions - María Íñigo ClavoChapter 13: Between false steps and post-/decolonial recompositions in progress.The Museum of Ethnology and World Cultures in Barcelona - Cristina Balma TívolaChapter 14: ARTifariti: an artistic, political and committed encounter with the Sahrawi people - Aurora Alcaide RamírezChapter 15: Geopolitical Shifts and Diasporic Struggles in Former Metropolitan Territories  - Nancy Garín, Antoine SilvestreChapter 16: Angolan Art: A Conversation on Curating, Archives, Coloniality and Diaspora - Paula Nascimento, Adriano MixingeChapter 17: Insurgent Aesthetics: Creole Rap from the Outskirts of Lisbon - Otávio Raposo, Pedro Varela

Carlos Garrido Castellano lectures at University College Cork. He is the author of Beyond Representation in Contemporary Caribbean Art (2019), Art Activism for an Anticolonial Future (2021) and Literary Fictions of the Contemporary Art System (2022), having written extensively on cultural activism, postcolonial studies and artistic and curatorial practice. Bruno Leitão is a Madrid and Lisbon-based curator, and Head Curator of FAS; he is a co-founder of Hangar, and was its curatorial director until 2021. As a curator, he aims to mediate in the context of art and sociopolitical and civic agency, working with artists from all latitudes to decentralise and challenge the Western canon.

This is a timely and ground-breaking volume. . . . For the field of Iberian Studies in particular, it offers not only a much needed opportunity to broaden its active 'cultural archive"'beyond the traditional literary core, but also to incorporate and question concepts of peripherality and coloniality. For Spanish and Portuguese art studies, the volume proposes an innovative comparative approach, one that not only links and contrasts curatorial practices in both countries, but also places them in a wider artistic, geocultural and academic context, and in relation to their own colonial practices.

• AcknowledgementsList of IllustrationsList of ContributorsIntroduction: Fictions of Cosmopolitanism, Spectacles of Alterity. Curating and the (Un)Making of Coloniality in Contemporary Iberia. - Carlos Garrido Castellano and Bruno LeitãoPart I: Displaying ColonialityChapter 1: Remapping Disciplines, Displaying Possibilities. A Curatorial Studies-Based Approach to Iberian Studies. - Carlos Garrido CastellanoChapter 2: Curatorial displacements in Spain before and after the 2000s: Coloniality tricks, exhibition eclipses and critical agencies. - Olga Fernández LópezChapter 3: The Exhibition as Representative Strategy for Cultural Diversity: Barcelona, 1992-2011. - Pep DardanyàChapter 4: Displaying Postcolonial Spain. A Conversation between Juan Guardiola and Carlos Garrido Castellano. - Juan Guardiola, Carlos Garrido CastellanoChapter 5: - Discourses of the Common Public Space: Identity, Memory and History in the Exhibitions of Autonomous Galicia. - Manuel GagoChapter 6: Curating Equatorial Guinea: Narratives of Spanish Colonialism in Central Africa as Told through Exhibitions. - Inés Plasencia CampsPart II: Curating beyond Exhibition-MakingChapter 7: What’s Someone Like You Doing in a Place Like This? Curatorial Processes, Ethno-Racial Agency and Coloniality in the Spanish State - Suset Sánchez SánchezChapter 8: Négritude: Approximations of a Century of Artistic Relations between the Canary Islands and Africa - Adonay BermúdezChapter 9: Visible Matters. A Short Exchange between Elvira Dyangani Ose and Carlos Garrido Castellano - Elvira Dyangani OseChapter 10: The Gulbenkian Foundation’s Próximo Futuro Programme and the Challenges of Curating Difference - Bruno LeitãoChapter 11: Documenting Postcolonial Curating. Thoughts on Buala One Decade On - Marta LançaPart III: Insurgent InterventionsChapter 12: Rumors: Representations: Revolutions - María Íñigo ClavoChapter 13: Between false steps and post-/decolonial recompositions in progress.The Museum of Ethnology and World Cultures in Barcelona - Cristina Balma TívolaChapter 14: ARTifariti: an artistic, political and committed encounter with the Sahrawi people - Aurora Alcaide RamírezChapter 15: Geopolitical Shifts and Diasporic Struggles in Former Metropolitan Territories  - Nancy Garín, Antoine SilvestreChapter 16: Angolan Art: A Conversation on Curating, Archives, Coloniality and Diaspora - Paula Nascimento, Adriano MixingeChapter 17: Insurgent Aesthetics: Creole Rap from the Outskirts of Lisbon - Otávio Raposo, Pedro Varela