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Intellectual Labor and Institutional Violence

In the United States, the Black population has always lived under the dominance and control of an oppressive system, which subjects them to constant hostility, discrimination, and microaggressions. Many artists have illustrated the widespread incidences of police brutality and the institutionalized divide between race, gender, and class depictions that arouse emotional responses from their audience. However, as Chaedria LaBouvier asserts, various institutions, such as museums, continue to perpetuate white supremacy imperialism through policies that subtly undermine black curators and deny them artwork spaces.

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I concur with LaBouvier’s views of the way American institutions have remained discriminatory toward African Americans. As illustrated by law enforcement agencies’ culture, brutalizing the black population captures the long decades of racial tensions. Besides the inhumane treatment and murder of the African Americans, the resource shows the way law enforcement agencies are lethargic in prosecuting the killers. The government takes action after the emergence of movements that appeal to the end of racially-inspired killings. For instance, Michael Jerome Stewart and Breonna Taylor’s murders share multiple similarities, such as the way their deaths impacted artists, artwork, and activism. I agree with LaBouvier’s insistence that cultural institutions should serve as restitution platforms for society to analyze and address the sustained white supremacy, exploitation, and imperialism.

I find Chaedria LaBouvier’s presentation inspiring since individuals can work with social systems to realize vital reforms. The numerous ways in which cultural institutions sustain supremacy, imperialism, and exploitation are infinite. Bouvier counteracts the systemic racism hosting the Guggenheim exhibition, which is of profound historical and cultural significance. Additionally, LaBouveir’s Guggenheim artwork display serves as a foundation for art-historical restorative justice. Although decolonizing and reclaiming institutions from white supremacists, imperialistic, and exploitative tendencies are challenging expeditions, they are worthy courses. I corroborate the view that cultural institutions are strategically positioned to address historical injustices. Therefore, the artistic sphere ought to accurately represent and document diverse practices without discriminatory institutional complicity.

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