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A Request of Removal

• 0°0°°
• A Brief History of Colonialism
• About a Village
• A Casa da Maria (Maria’s House)
• Almost There
• Along the Coast
• Alves / Durham / Berlin
• An Accounting
• Amatlan
• Angelo Kretã
• Announcement of Attempts to Guarantee the Future Existence of Taiwan
• A Possible Reversal of Missed Opportunities / Uma possível reversão de oportunidades perdidas
• A Question of Aesthetics and Colonization
• ‘As a lexicographer, I am always aware that words are the daughters of earth, but objects are the sons of heaven.’ Samuel Johnson
• Axolotl Poster
• Back to the Water
• Barra / Barre
• B.C.M.O.
• Beyond the Painting
• Billions of Microorganisms Inhabit and Vitalize a Gram of Soil
• Borderline
• Bougainvillea
• Brazilian Information Center
• Bruce Lee in the Land of Balzac
• Bruno and The Burning Bush
• Changing of the Guard
• Chico Mendes, Los Anti-Heroes Y La Ley De Gravedad
• Conselho de Seres / The Council of Beings
• Cowboys
• Decolonizing Brazil / Descolonizando o Brasil
• Decolonizing Botany / Jevy Jejapo-pyra Temití-tyre
• Destroy Miramar Resort
• Dicionário Krenak–Português / Português–Krenak
• Dicionário Krenak–Português / Português–Krenak (Special Edition)
• Diothio Dhep
• Direct and Circumstantial. Relevant Evidences in Naples, Butia, Kassel and Ubatuba
• Ehrenbürgerin (Honorary Citizen)
• Eu e os Matarazzos (Me and the Matarazzos)
• Fair Trade Head
• Frozen Ground (the film’s musical score as interpreted for deaf people)
• Garrison Creek
• Gathering of Dismembered Knowledges & Curing Dismembered Knowledges
• Sonance Saturated Stone
• Green Party São Paulo (Partido Verde), Program
• Gris
• Grunewald
• Hail Mary
• I am resigning as moderator…
• Ici
• Il Sole
• Invisible Shadows: Teçâ (Eye), Apigçâ (Ear), Jurû (Mouth)
• Iracema (de Questembert)
• Jimmie as a Flower
• Killing Floor
• Light Intensity Map. Standing on Olympiaberg Facing East/Southeast Munich
• Machine Désirante [Desiring Machine]
• Metaplasmos
• Minus One Dimension: Zinneke Reflections
• Mismisidade del Mismo o Viviendo con Diez Dolares al Mes (The Sameness of the Same or Living on Ten Dollars a Month)
• Monumento aos Bandeirantes
• Museum of European Normality
• Nevermore/Evermore
• Non sono d’accordo / I Don’t Agree
• No soy su madre (I Am Not Your Mother)
• Nowhere
• OIKOVYTERI ITEKO'A MÔINGUEVYA (Decolonisation continues)
• Objective Channel Selection
• Oculesics
• On Remembering for a Future
• On the Importance of Words, a Sacred Mountain (Stolen) and the Ethics of Nations
• Orée
• Part One
• Pedro de las Pedras
• Phantom Pain
• Pira he
• Pluriversal Recapturings (Riconquiste pluriversali)
• Post-Eldorado Amazonas
• Que Flui
• Recipes for Survival (1983)
• Refuge of Beings at Tafawa Balewa Square
• Rio Doce: Sweet No More
• Rose Marble Table
• Seeds of Change
• Seeds of Change: A Ballast Flora Garden (Utrecht)
• Seeds of Change: A Floating Ballast Seed Garden (Bristol)
• Seeds of Change: A Garden of Ballast Flora (Leuven)
• Seeds of Change: Marseille
• Seeds of Change: New York - A Botany of Colonization
• Seeds of Change: A Ballast Flora Garden (New York)
• Shaushka & Inanna
• Silk, Bricks and the Moabit Prison
• Skjervoy
• Son del Pueblo / Of the People
• Spirit Line
• Statement written for the United Nations Commission on Human Rights - 35th Session
• Still Here…
• Sur le Herbe (homage a Dominico and Vincenzo Mancini)
• Tchám Krai Kytõm Pandã Grét (Male Display Among European Populations)
• The Artist as Bandeirante
• The Contract… (It is unfortunate that we feel ourselves in need of contracts to carry on our work as artists)
• The Flood
• The One That Got Away
• The Rains
• The Return of a Lake
• The Ways They Make War With Worlds
• Thieves and Murderers in Naples: A Brief History on Families, Colonization, Immense Wealth, Land Theft, Art and the Valle de Xico Community Museum in Mexico
• This is not an Apricot
• Through the Fields and into the Woods
• Time, Trade and Surplus Value
• To See the Forest Standing
• Tromsø’s Academy of Contemporary Art workshop on the 30th Anniversary of the Alta Case
• Um Vazio Pleno / A Full Void
• Una proposta di sincretismo (questa volta senza genocidio) / A Proposal for Syncretism (this time without genocide)
• Uncle A.
• Unrejected Wild Flora
• Urban Rituals
• Utopia: A Photo Text
• Venxen ke ve (In Guarani it means, "Already Made”)
• Virginia Veracruz / Veracruz Virginia
• Wake for Berlin
• Wake: Flight of Birds and People / Seed Catcher
• Wake in Guangzhou: The History of the Earth
• Wake: Reintroducing the Obliterated Flora of the Spree Riverbank
• What is the Color of a German Rose?
• "When they come, flee“, said my Grandmother to my Mother. "When they come, flee“, said Mother to Me.
• Why here?
• Windowlight
• Tupã-Y Guaraní (Marçal de Souza)
• You Will Go Away One Day But I Will Not
• A Request of Removal

A Request of Removal, 2026

Site-specific installation
Letter and various materials

Maria Thereza Alves was invited to participate in the group exhibit, „Admiranda e Arcana Naturae“ curated by Giulia Pollichita at the MUSA – Museo Universitario delle Scienze e delle Arti dell'Università Vanvitelli in Naples. In the museum Alves saw a vitrine with two Tsantsas belonging, most probably, to the Shuar people. She then wrote a letter to the director of MUSA, Professor Michele Papa, requesting that the vitrine be covered or removed. After meeting with the director authorization to cover the vitrine was granted in the evening before the opening.

The letters of MUSA authorities and Maria Thereza Alves (PDF)