class privilege in museums. There is also a tradition of activist interventions being used as responses to the censorship of exhibited artworks. In 1989, after the Corcoran Gallery of Art cancelled The Perfect Moment, an exhibition of Robert Mapplethorpe’s explicit photography, protesters projected Mapplethorpe’s photos on the exterior of the museum. Similar protests occurred when David Wojnarowicz’s film A Fire in My Belly was removed from the Hide/Seek: Difference and Desire in American Portraiture exhibit at the National Portrait Gallery in 2010. Internal institutional interventions While most interventions are directed at museums from outside sources, museums also engage interventions as a way of performing self-critique. For example, in 2015 MoMA mounted a meta-intervention exhibit called Messing with MoMA: Critical Interventions at the Museum of Modern Art 1939 – Now. In a similar way, ethnographic exhibitions have been incorporating contemporary art as a way to disrupt conventional expectations and narratives. Another critical intervention in museums is the conception of permanent exhibitions, which are long-lasting galleries presenting the museum collections that critically reveal and approach the connections between the institution, its history and practices, and the cultural and social context in which the institution is embedded. This practice seeks to highlight the transformations in the paradigms that have determined the messages and languages of museums in the past, and invites visitors to reflect on the diverse roles of museums through history. The display of the collections of the Museum of Antioquia (Medellín, Colombia) exemplifies this practice. The design of the gallery Historias para re-pensar (Histories to re-think) focuses on the 19th century and first half of the 20th century, and proposes a critical review of the region’s art history thereby inquiring about the role of collectors and the Museum in the construction of aesthetic paradigms. The gallery includes contemporary works in order to install a dialogue between the past and the present. Additionally, the section of the permanent exhibition titled Galleries for decolonial dialogues: The persistence of the dogma displays an anachronistic array of works and documents in order to convey how enduring colonial dogmas determined the country’s cultural values and visual experiences during the 19th century. The project of redeveloping the Museum’s permanent galleries is part of a larger institutional transformation that makes the Museum of Antioquia a great example of comprehensive critical museology practices. Another example of this Museum’s critical approach is the artistic residency project of artist Nadia Granados