<i>Brazil, Indigenous Land</i>

Abstract At the intersection of cultural activism, historical critique, and political dissent, Indigenous antiracist art has prompted a reassessment of colonialist monuments and their role in perpetuating legacies of violence in urban spaces. A case in point is Denilson Baniwa’s 2020 video-mapping projection on the Monument to the Bandeiras (Monumento às Bandeiras) in São Paulo, titled Brazil, Indigenous Land (Brasil,Terra Indígena). This article probes Baniwa’s intervention as a starting point to explore how public Indigenous art can change people’s perceptions in a way that recognizes Indigenous perspectives, which are often overlooked in cities. It calls for a collective reckoning with the oppressive forms that persist in colonialist monuments and questions the Eurocentric foundations that cities are built on.