Could a linear construction of history, and thus of the history of art, be sufficient in such a complex and contradictory geographic area as Latin America, where, as stated by Alejo Carpentier, the past and the present coexist? This question, posed from the Brillembourg Capriles Collection -mostly conformed by Latin American geometric abstraction and parallel explorations from Spain and Portugal in the 20th and 21st centuries, and even from South Africa, as part of the new global South- has led us to privilege a diachronic approach, with an open view of history in construction, full of intertwined temporalities. Since we know that geopolitical representations affect artistic representations and their own visibility, we suggest seeing the South not just as a region, but as a perspective that seeks to expand on the idea of the América Invertida (Inverted America) by Joaquín Torres-García. In this manner, this curatorship explores the idea of an expanded map conformed by subject-territories, a dialogical learning of the revisions of art, and it recognizes the currency of and an acknowledgment of the validity in both hemispheres of the “Manifesto Antropófago” (Manifest Cannibal) by Oswald de Andrade. Great collections can play a key role in this effort to review the history of artistic movements, processes, and practices in the entire world. The Brillembourg Capriles Collection includes a selection of Latin American masters as well as forgotten or not sufficiently recognized Hispano American pioneers. Though it encompasses works reflecting the dream of modernity, it also incorporates contemporary pieces that subvert it. This curatorship proposes a non-linear, non-hegemonic vision, in terms of chronology, of approaches between quite distant frontiers and movements, as well as a dialogue of masters and not-well-known pioneers, including those which defected the hard road of geometric abstraction. The subtitle of the exhibition called El Sur global evokes the words with which Octavio Paz himself referred to El laberinto de la soledad (The Labyrinth of Solitude), a crucial book that in 1950 was already addressing the issue of peripheral and marginal countries against dominant countries, of object-countries and subject-countries; a book he described in a postscript in 1970 as “a critical exercise of imagination: a vision and a revision.”