The curator’s Bienal de São Paulo this year, Not All Travellers Walk Roads – its title taken from a poem by the Afro-Brazilian writer Conceição Evaristo – received mixed reviews. Critics for ARTE!Brasileiros and The Guardian reacted sniffily (the former laying into Ndikung’s decision to leave the authors of each individual work largely unidentified, the latter finding the ‘AV-heavy simulacra of spiritual experiences’ repetitive), while ArtReview was more appreciative (‘rigorous research… diving deep in Afrodiasporic erudition’). A critic for e-flux bemoaned the absence of Palestinian recognition in the show, with Ndikung no doubt wary of inflaming a culture war back home in Berlin, where he is director of Haus der Kulturen der Welt. On home turf he certainly doesn’t eschew politics, recently opening a group show bluntly titled Global Fascisms, featuring the likes of Nguyễn Tân Hoàng, Gülsün Karamustafa and Robin Rhode (though side-stepping the Middle East), and continuing to push a broadly international perspective that included solo shows for Sandra Vásquez de la Horra and Cyprien Gaillard.