Your blog reveals the power structures hidden in the decontextualisation of white box space, which provides an important critical basis for decolonial curation. I think your desire to break down the colonial nature of the white box could be considered by adopting a more contextual approach to the exhibition, such as allowing the works to be in dialogue with their cultural and social contexts of origin, rather than simply being displayed as ‘aesthetic objects’. In addition, you mentioned Tate Modern’s marginalisation of non-Western art, which reflects how mainstream galleries maintain Western-centrism in their exhibition layouts and curatorial narratives. Therefore, a decolonising curatorial programme could adopt ‘decentralised exhibition’ strategies, such as the use of mobile exhibitions, community embeddedness, or multiple curatorial perspectives, in order to break down traditional power structures and allow non-Western artists to actively define the meaning of their work, rather than having it reinterpreted by Western institutions.

To Yubing Hu ：

Your blog proposes the concept of cultural whitewashing as a curatorial act, which offers a critical perspective on curatorial practice. I think your idea could be translated into an experimental exhibition that reveals how cultural symbols have been transformed or distorted at different stages of history. The exhibition could use contrasting displays (e.g. original cultural elements versus bleached forms), interactive installations (allowing the audience to experience the distortion of culture in the process of translation and marketisation), or even ‘counter-curatorial’ strategies, where marginalised groups directly narrate their own culture. And you can further study how to select cases and how to reflect the ‘de-bleaching’ curatorial method in the spatial layout, narrative structure and audience interaction of the exhibition, in order to truly break the power structure of the mainstream cultural narrative.