Abstract This article begins with the counter-celebrations of the Bicentennial of Independence of various countries in Latin America in 2010, where a number of artists took part in an array of organised events and actions. I will present here a portrait of that moment of change of paradigm in the methodologies for researching and curating ‘Latin American (Art) History’ that was developed in the following decade. I will focus on some actions and exhibitions that shared four common interests: 1) A concern in analysing how official representations of (modern) History had been constructed. 2) To show the historical contributions to independence and ulterior construction of the ‘national’ by collectivities that had been until then ignored by national narration: Indigenous peoples, peasants, African Descendants and women, in order to rename modernity. 3) To defy classic curatorial strategies in order to question the conventional format of the exhibition and art display, by fostering networks of people, alternative circulation tactics or rumors typical of popular culture strategies. 4) A reflection on the concept of Nation as a modern manifestation, as a continuation of the colonial order.

中文翻译：

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精疲力竭的2010

摘要 本文从 2010 年拉丁美洲各国独立二百周年的反庆祝活动开始，众多艺术家参与了一系列有组织的活动和行动。我将在此展示随后十年发展起来的研究和策划“拉丁美洲（艺术）历史”方法论范式变化的那一刻。我将重点关注具有四个共同兴趣的一些行动和展览：1) 分析（现代）历史的官方表征是如何构建的。2) 展示在此之前一直被民族叙事所忽视的集体对独立和“民族”的不可告人的建设的历史贡献：土著人民、农民、非洲后裔和妇女，以重新命名现代性。3) 挑战经典策展策略，通过培养人际网络、替代流通策略或流行文化策略的典型谣言，质疑展览和艺术展示的传统形式。4) 反思作为现代表现形式的民族概念，作为殖民秩序的延续。