Uzbekistan was the subject of a huge PR campaign based around its inaugural biennial this year: ‘an art and fashion hotspot’, gushed Vogue of the Bukhara Biennial’s host city; ‘a model for countering the scepticism’, opined Frieze of the biennial; ‘celebrating art of the present among treasures and oeuvres of the past’, thought TikToker Gstaad Guy, one of the many influencers expensed in alongside the usual press. This mountain of publicity was a testament to the biennial’s curator Campbell, known for her ongoing work with the Samdani Foundation and the Dhaka Art Summit in Bangladesh. Also head of global initiatives at the private Hartwig Art Foundation, Campbell was praised for coupling international artists with local makers or artisans: Antony Gormley worked with brickmakers; Himali Singh Soin collaborated with ikat weavers. It’s a typically thoughtful gesture, making something special from what might otherwise have been just another stop for the air-mile-collecting artworld, and a perfect fit for Campbell’s other role, on the Facilitation Group of AFIELD, a transnational network supporting artists as social changemakers.