‘How can I put out this call for people who are not recognised as artists?’ Benites asked the environmental journalism platform Sumaúma this year. The curator was already the most visible promoter of Brazilian Indigenous artmaking and its intersection with other communities previously ignored from the canon. She was the first Indigenous curator at the Museu de Arte de São Paulo, but quit last year after a series of photographs representing leftwing workers and Indigenous rights movements were cut from a show (the museum denied censorship, saying the works were delivered too late). In April she cocurated the first Bienal das Amazônias in Belém, exposing ‘the reality of the Amazons, especially around the idea of fetish the Amazon represents’. As that opened, and with Nhé ẽ Se, an exhibition cocurated with artist Sallisa Rosa at Caixa Cultural Brasilia already in the works, she became the new director of visual arts at Funarte, a government-aligned foundation, giving her immense influence over the country’s visual arts budget and policy, and marking her out as a model for Indigenous curating internationally.