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Understanding the power of art to shape and guide debates on diversity, inclusion, and belonging at the university, this article takes as its point of departure a donation that centers critically acclaimed artist Roser Bru within a larger community conversation and educational endeavor. With an aim to speak to representation and democratic values, the authors analyze the overlapping thoughts and disconnects of three select stakeholders who have wrestled with what to hang on the university walls: a Donor, a Curator, and an Artist in Residence. Those interviewed represent distinct vantage points, each from a different constituency within and outside the university. This article unpacks an unexpected intellectual conundrum: At the University analyzed, current stakeholders guiding museum collections and selecting art for display on the walls seemed to challenge the representation of historically marginalized groups. Further, a generalized lack of understanding of matters beyond the borders of the United States makes it all the more challenging to speak to Roser Bru's paintings. Art can begin a conversation about belonging and human rights. These preliminary research findings suggest that a process engaging human subjects and their connections to cultural history can bring about reflection. This article ends with self-assessments by each of the authors, recognizing the unfinished nature of this work as part of a larger engagement on one's own campus and across universities. [ABSTRACT FROM AUTHOR]

Responding to the 2020 COVID-19 pandemic, when news of quarantines, shutdowns, and sheltering-in-place mandates abounded, the organizers of the tenth fashion congress of Ixel Moda in Cartagena, Colombia, decided collectively to develop the content for an unprecedented five-day, 3-dimensional virtual gathering that brought together artisans, designers, chefs, scholars, and other creators from throughout the globe. The event would provide the scenario for exchanges on many facets of Latin American culture--food, music, film, fashion, politics, museum exhibits, performance, decorative arts, sustainability, tourism, and advertising--in the midst of a difficult period. This essay explores Ixel Online 2020 as a showcasing of the creative arts, includes the voices of the cultural organizers, and proposes this event as a model for increased international dialog during a global crisis. [ABSTRACT FROM AUTHOR]