The 7th Mercosul Biennial - Cry and Listen affirmed the meaning and importance of artists as social actors and constant producers of a necessary critical sense. This edition's distinctive feature was a project selected through an international public competition, which placed artists as curators. The artist-curators developed the exhibition and educational projects, conceptualized and coordinated the editorial project, publications, image, and communication for the Biennial as a whole. Curatorship, education, and publications articulated intertwined and interdependent dialogues, exploring multidirectional communication through multiple languages. According to chief curators Victória Noorthoorn and Camilo Yáñez, rather than focusing on a single theme, the 7th Mercosur Biennial proposed a series of methodologies and initiatives that demonstrate the diversity of approaches and functions that contemporary art presents: "Scream and Listen establishes a link between two poles: it emphasizes the importance of the artist's action (the scream) that produces an immediate and active action, with the intention of causing impact and important transformations; and it appeals to the power of listening, of hearing, provoking a reflective attitude, reclaiming the power of dialogue as a model for building a better society," the curators stated in their curatorial text. This edition featured seven exhibitions, an educational project, an editorial and communications program, a radio system, and various cultural programs throughout the Biennial, both inside and outside the exhibition spaces. Participating in this edition were 338 artists from 29 countries, including Germany, Argentina, Belgium, Brazil, Chile, Colombia, Spain, the USA, France, Mexico, Switzerland, the United Kingdom, Uruguay, and Venezuela. Approximately 60% of the works were produced especially for the Biennial. The exhibition spaces for the 7th edition were the Arazéns do Cais do Porto, the Santander Cultural Center, and the MARGS - Rio Grande do Sul Art Museum, as well as several public venues in the state capital. The Pedagogical Project, conceived by curator Marina De Caro, was designed to decentralize and multiply initiatives and included guided group tours for 90,000 students from public and private schools. Approximately 67,000 students from public schools in the capital and surrounding areas received free transportation to visit the exhibitions. The "Practical Maps - Available Spaces" initiative, which involved 26 educational studios in Porto Alegre and 40 local artists, opened their doors during the Biennial to welcome groups and conduct free workshops. It offered 144 classes in 38 different workshops, serving an audience of approximately 1,400 people. The 7th Mercosul Biennial Mediator Training Course, aimed at university students and professionals with degrees in any field, trained 200 people to assist visitors during the exhibitions, as well as teachers and guests. Another innovation of the 7th Mercosul Biennial's Pedagogical Project was the Available Artists Residency Program, which promoted a veritable artistic marathon in nine regions of Rio Grande do Sul and border cities in Uruguay. Porto Alegre, São Leopoldo, Montenegro, Lajeado, Pelotas, Caxias do Sul, Santa Maria, Santana do Livramento, Tavares, and Riozinho were chosen as the locations for 14 artists' projects, with the goal of fostering an exchange of experiences between the Biennial and the communities. Approximately 6,000 people actively participated in the projects.