http://www.afterall.org/journal/issue.26/this-exhibition-is-an-accusation-the-grammar-of-display-according-to-lina-bo-bardi1
"Bo Bardi is exceptional in her formal understanding of that equally vast and mysterious entity called 'the social'. Her poetics of sensual collaboration could be the antidote to the populist inclinations of Western art institutions (including their predilection for big exhibitions). Faced with the relative disappearance of their traditional constituency (the educated middle class) and simultaneously challenged by a curious mob of aesthetic illiterates, art institutions need to learn that cultural illiteracy will only be sustained by the business of mediation - at least as long as the latter is conceived to be primarily a service for unenlightened savages to which institutions eagerly 'reach out'. Bo Bardi, in contrast, took clues from Paulo Freire's 'pedagogy of the oppressed' - she based her work on the creative resources of the populace and advocated the democratisation of knowledge.2"
...
"Bo Bardi's aim at MASP was again to restore art to its 'creative possibilities'. However, while the egalitarian space promises the individual free circulation, an open encounter between faces and surfaces, this promise is invested with a substantial threat - a threat visibly expressed by the unmediated competition between the artworks. Like a ward with newborns who cannot make it on their own, they all crave simultaneously for the viewer's attention. And this is the message conveyed by Bo Bardi's display (and a truth regularly suppressed by the art institution): art demands too much of our lives."
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