of an exhibition that insists on the relations of art and politics attests to what Jacoby wanted to achieve in the first place: "forcing the art establishment to become involved in a discussion on the verifiable fact that, today, in a geopolitical space like Latin America, there is more experimentation, more creativity, andultimatelymore hope in the realm of politicsfrom institutions to social movementsthan in the contemporary art system."Whatever you may think of the work, it seems beyond the pale when a curator decides to censor a work by protecting himself behind the alleged decision of a tribunal that expressed the possibility that Jacoby's work may be required to comply with an electoral law. The least that an artist could expect from a curator is the total and unequivocal defense of the art space as "territory of full liberty," as editor Marcos Augusto Goncalves characterizes it. But instead of evaluating and answering for Jacoby's politically confrontational work with artistic and aesthetic criteria, Farias allows it to be judged by an electoral law to which he subscribes his authority and his exhibition, thus confusing politics and the political. That is, Farias's decision dangerously obliterates any distinction between what Jacoby is dealing with (politics) and that other meeting ground between politics and the police (the political), where rights and freedoms confront the established order of control.In brief, under Farias's conservative and reactionary direction of the 29th edition of the SP Biennial, scattered and adrift, is a missed opportunity, lacking much sense or much guts. As if playing a game of daring to fall with a noose around his neck from a place high enough off the ground that the fall would hang him, Fariass failure was already foretold. And so, the complexity and poetry that dos Anjos proposed became, simply put, a matter for the police to deal with. Im almost sure that this is precisely what the three live vultures in Nuno Ramos gigantic and brutalist sculpture were anticipating.Octavio ZayaOctavio Zaya is a curator and writer based in New York since 1978. Director of the journalAtlantica (CAAM, Canary Islands), Curator at Large of MUSAC (Leon, Spain), and co-Director of RADAR, MUSAC's journal. He was one of the curators of Documenta 11 (2002) under the Direction of Okwui Enwezor.1.Roberto Jacoby, El alma nunca piensa sin imagen (The soul never thinks without image), 2010. Covered after Electoral Attorney General's office issued a decree. Image courtesy of Argentinian Brigade.2.Curatorial team. From left to right: Fernando Alvim, Agnaldo Farias, Rina Carvajal, Chus Martinez, Yuko Hasegawa, Sarat Maharaj and Moacir dos Anjos.3.Roberto Jacoby, El alma nunca piensa sin imagen (The soul never thinks without image), 2010. Program of talks and political actions. Stage, microphones, light, posters, band, t-shirts, caps, buttons, flyers, lecturers, activists and public; drawings in collaboration with a group of Argentinian artists. Image courtesy ofArgentinian Brigade.4.Nuno Ramos, Bandeira branca, 2010. Sand, granite, glass, vulture, safety net, speakers, sound. Dimensions variable.5.Nuno Ramos, Bandeira branca (detail), 2010. Sand, granite, glass, vulture, safety net, speakers, sound. Dimensions variable.