Alexandreâs work is known by his upbringing in Rocinha, the largest favela in Brazil, located in a southern Rio de Janeiro suburb. In these most recent works, he uses many definitions of paper pardo to address contemporary debates about identity and representation, lending his work a particular activist, political orientation. In fact, even the works on âNew Powerâ can make heavy allusions to art history, itâs really about who is looking at art. The painted representations of the guests are all faceless, black, and blonde haired. As such, they seem to represent a completely mixed world, although hierarchies and power dynamics appear to still remain. Basically, the security guards at Alexandre’s imaginary museum is dressed like Brazilâs militarized state police force, subverting the small margin of authority held by museum guards to visitors to the more repressive and extensive state authority.