Through their attempts to direct the artworld’s economies back to a site that once supported colonial wealth – the plantation lands around the village of Lusanga, previously owned by multinational Unilever, where the collective CATPC is based – the group’s members (currently at 20) are reaching beyond artistic symbolism to pursue practical, real-world change. Maintaining their work as plantation labourers, the artists have used revenues resulting from sales of their palm oil and cocoa sculptures to buy up and restore plantation land around Lusanga. In 2017 CATPC built a ‘white cube’ art gallery on land they had reclaimed, which this year was connected by livestream to the group’s standout exhibition at the Dutch Pavilion at the Venice Biennale (worked on with Renzo Martens, a longtime collaborator, and Hicham Khalidi). With a major exhibition at Van Abbemuseum, Eindhoven, opening this December, following appearances at the Diriyah Biennale and Paris Internationale, CATPC’s short-circuiting of the global artworld’s power relations takes institutional critique one step further.