Franthiesco Ballerini’s, The Brazilian way: cultural soft power in times of financial crisis and far-right administration, argues that telenovelas, Bossa-Nova and carnival spectacles overtake political authoritarianism because of their financial success and aesthetic appeal. David Bundy’s,  Fair Use – An Introduction, investigates that whenever artists or writers borrow works in order to advance the aesthetic field, complaints can arise. Jean Bundy’s,  International Objects on Display—Remaining? OR Restituted? explores pillaging and hoarding of  artefacts, which is not only selfish, but becomes irrelevant with electronic devices allowing objects to be viewed virtually anywhere.  Dineo Diphofa’s, Exhibiting [Black] Modernisms: Language, Diction and Sites of Intervention in Institutions, suggests that showcasing black works can be misrepresented by ‘others’ who curate.  Marc Michael Moser’s, Fast-food Michelangelo, critiques Michelangelo and Beyond at Vienna’s Albertina Museum, and discovers regurgitated curatorial approaches, while posing that artsy ‘merch’ reveals more about how we relate to the bygone genius-artists.  Bihter Sabanoğlu’s, The Fabrication of the Modern Harem Woman: The Dissection of the painting “Goethe in the Harem” by Abdülmecid Efendi interprets late nineteenth century female portraiture through an Orientalist perspective, identifying tropes: fabrics, necklaces, books, and dogs.