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The notion of decolonial thinking, beyond the construction of our epistemologies, also poses
the possibility of connecting with other ways of configuring meanings and creating our systems of
knowledge through forms that escape logic. The localization of thought, then, like that of affections,
originates not only from a geographical place but also from a metaphorical one. And it is in these
places, and through the symbols we create, that we conceive of ourselves as a society and construct
a new narrative. In “What’s Mine, What’s Yours,” three artists from different generations and diverse
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