"Citation is not a footnote. It is a form of power. It is a redistribution of attention, legitimacy and often, livelihood. Who we cite, how we cite and when we choose not to, decides who is remembered and who fades into the background of someone else's spotlight." These incisive lines from our recent Think piece reflect on the unattributed use of protest poet Aamir Aziz's Sab Yaad Rakha Jayega (We Will Forget Nothing) in a contemporary artwork. To cite is to honour, to credit, but also to choose—to determine whose voices carry forward and in what form.

Proper attribution becomes both an act of respect and a form of resistance, while erasure is often a tool of power. Do we all consider this fine line with intention? Is it fine at all? Apropos of this, the Venice Architecture Biennale 2025 reveals how the narratives of National Pavilions walk the line between representation and propaganda—who gets to speak

for a people, and whose truths are filtered or edited out?

Our Opinion considers how Latin American art fairs are forging their own language where visibility grows, but so do questions of tokenism, perhaps. Speaking about its global positioning, Pinta Lima's artistic director said, "There is a renewed interest in the region's art. We still have a long way to go, but we're beginning to be heard." And in conversation with Mexican architect Fernando Sordo Madaleno, we reflect on what it means to balance acts of belonging to the land while levelling architecture's creative and commercial aspects.

This week, we mull over how the fine line between creativity and conscience, introspective and performative acts, and inspiration and appropriation is approached, without slipping into silence (or complicity).