A leading artist in Afro-Brazilian art since the nineties, Rosana Paulino is represented at the Biennial 12 by her installation Parede da Memoria (Wall of Memory). The piece, made up of small “patuás” shows family portraits, creating a huge memorial for her family. It is a portrait of her affections. The series, Bastidores (Backstage), shows eyes, mouths, and necks embroidered or sewn over. These inevitable images address one of the Biennial main themes: the violence against female bodies and towards black women, who are at the base of the Brazilian’s social pyramid. In her drawings, she also deals with the body-animal relation. Through this, she introduces one of the most recent debates within feminism, the one related to the Anthropocene: the human being's capacity to destroy the planet, and the centrality of the human who has been attacking nature. Through her works, Rosana Paulino introduces two relevant questions. To what extent has scientific knowledge contributed to establishing the foundations of racism? To What extent is the canon of Brazilian art white and patriarchal? The First issue is discussed in her book ¿historia natural? (Natural History? ). Her series A Geometría a Brasileira llega ao Paraíso Tropical (Brazilian-style Geometry Arrives at Tropical Paradise) involves an ironic distance over the canon of abstract art that dominates the international perception of Brazilian art. Rosana Paulino's work invites a deep review of our concepts on art and culture.