The notion of decolonial thinking, beyond the construction of our epistemologies, also poses the possibility of connecting with other ways of configuring meanings and creating our systems of knowledge through forms that escape logic. The localization of thought, then, like that of affections, originates not only from a geographical place but also from a metaphorical one. And it is in these places, and through the symbols we create, that we conceive of ourselves as a society and construct a new narrative. In "What’s Mine, What’s Yours," three artists from different generations and diverse backgrounds reflect on the colonial wound that pierces us. And how, by recognizing ourselves in it, we create possibilities of existence and narrate ourselves as individuals and as a collective.

In the Ndebele community of South Africa, women adorn the exterior walls of their homes with patterns and geometric elements, serving as testimony to significant events in the private and collective lives of their inhabitants. These vast paintings stand as cultural and symbolic resistance against the processes of colonization and extermination that afflicted the region: the arrival of Boer farmers, British expansion, and the horrors of apartheid. Dr. Esther Mahlangu (South Africa, 1935) shoulders the weight of this tradition, transporting it into public space and traditional mediums. Through an act of displacement, Mahlangu appropriates one of the most sophisticated manifestations of capital, thereby symbolically recolonizing a closed space and opening it to the world.

Miguel Ángel Ríos's maps (Argentina, 1943) revisit traditional cartographic representations to challenge predominant narratives through the myths that have shaped our understanding of the Americas. His creative process involves deconstructing the logic and orientation of colonial historical documents, intertwining them with symbols of indigenous traditions. This constitutes a tangible exploration of the "encounter of two worlds" through storytelling. It's an exploration not only of geography but also of the intricate interaction between cultures, traditions, and ideologies that define our region. By "un-mapping" America, Ríos crafts a new map of our past, thereby achieving a critical and symbolic reordering of our history.

The maps supporting Justyna Kisielewicz's paintings (Poland, 1983) expand in plastic richness and emotion. Kisielewicz contemplates the ongoing consequences of colonization: land exploitation, human exploitation, and symbolic devastation. Larger works represent geopolitical and social transformations, while smaller pieces delve into the emotional toll these processes exacted on humanity. The conquest is depicted through fantastical imagery, paradises where nudity and exuberance contrast with the presence of invaders, concealing their faces and intentions behind fabrics printed with wild motifs and brand accessories. The plastic tension encapsulates the duality of these images, containing within the narration of a past, present, and future.