documenta, the largest and most influential event of the art world beside the Venice Biennale, has always been surrounded by local and international scandal. d15 seems to have fulfilled an extreme agenda. In this thematic issue, we ask each contributor about their personal experiences at d15. Our questions were: What could be learnt at d15? Did it manage to change the perspective of Western visitors? What was the experience of non-Western artists and cultural practitioners? What did they teach and what could they learn as part of one of the most influential legitimizing and canonizing machine of the art world? To what extent did ruangrupa’s lumbung concept manage to change the power structures of the art world?
