I often stare open-mouthed at Brazilian supermarket shelves, horrified by the overt racism of some of the branding. One line of cleaning products features a caricature that’s too grim to go into, and would likely have been considered offensive by many as far back as the 1920s. There is a history to all this of course. While they number under half the population, white Brazilians still hold a disproportionate amount of the country’s wealth and power: a legacy of colonialism, slavery, extractionism, but also of the myth of Brazil’s post-racial utopia to which many in the country still cling (a multiculturalism partly due to the post-abolitionist government’s desire to “whiten” the population by inviting immigration from Europe and Asia in the late nineteenth century). That is a lot to unpack from the weekly shop. Some of these dubiously branded products caught the eye of Brazilian artist Paulo Nazareth too, who uses them as the basis for his critique of the art world’s tendency to transform cultural identity into commercial capital. In his series “Ovo de Colombo” (Egg of Columbus, 2020), one of the first bodies of works encountered in this expansive retrospective of art made over 17 years, they …