The global field of contemporary art is shaped by inter-racial conflicts. Alleviative Objects
approaches Caribbean art through intersectional entanglements and combines decolonial
epistemologies with critical whiteness studies and affect theory in order to rethink `Euro- and
U.S.-centric' perspectives on art race and class. David Frohnapfel shows how progressive
racism in the discourse on Haitian art recenters Whiteness by performing benign innocent and
heroic identifications with the artist group Atis Rezistans. While the study turns critically
towards Whiteness it also turns away from it and towards the compelling contributions of
Haitian curators and artists to the decentralization of contemporary art.
