What happens when First World art rubs up against Third World art? Does it bleed? In December 2009 Atis Rezistans, the Sculptors of Grand Rue, hosted their first Ghetto Biennale. They invited fine artists, film-makers, academics, photographers, musicians, architects and writers, to come to the Grand Rue area of Port-Au-Prince, Haiti, to make or witness work that was made or happened, in their neighbourhood. In the words of the writer John Keiffer, it was hoping to be a “‘third space’…an event or moment created through a collaboration between artists from radically different backgrounds”. The 2nd Ghetto Biennale took place in December 2011 and seemed, in a contradiction to its aims, to reveal contextual, internal and institutional vulnerabilities to the inequalities that run across race, class and gender, provoking further questioning of the way these dynamics play out in an increasingly globalized art world.