Gerardo Mosquera examines in his paper “The Third Bienal de La Habana in Its Global and Local Contexts” the pivotal role of the Bienal de La Habana in introducing new elements into the biennial format. Changing an oftentimes representational exhibitory model into a discursive environment, Mosquera lays out the complex contexts of the first three editions between 1984 and 1989, navigated within a regime of political representation and postcolonial legacies. Agustina Andreoletti delves into the history of the Bienal de São Paulo and the exceptional role of the 3rd Havana Biennial in “A New Change of Course—Distributed Biennialism in Latin America.” The 3rd Havana Biennial, according to Andreoletti, created a new precedent for biennial formats, commencing a tradition concentrated on discourse and knowledge production strategies. With this historical outline, Andreoletti scrutinizes three contemporary biennials from South America: BienalSur, #00Bienal/ Bienal Sin 349, and La Bienal en Resistencia 2019 with a special emphasis on the “lighter” structure of these diverse biennials. Anita Orzes examines the history of the Havana Biennial in “Curatorial Networks: The Havana Biennial and the Biennials in the South,” which for its third iteration in 1989, according to Orzes, abandoned the “Western biennial format” of separating artists by their nationalities and instead proposed the setting up of workshops and theoretical meetings alongside the exhibition. The article reflects critically on biennials adjusting to a narrative of Eurocentric perspectives in art history and exhibition-making.