ABSTRACT
Modernism in the non-Western post-colonial world has been often characterized as a dilemma: an imposed Eurocentric mode of being that is generally very selective in its applications by the imperialist colonial powers, that at once excludes and renders the non-West as belated and needy as modernism equally imprisons the non-West in an incessant cycle of rejection while it tries to belong. Thus, despite the transnational evolution of modern art – of which the modernists themselves were aware – non-Western canonical history still emphasizes the centrality of Western art, which in turn became synonymous with universal art against which all other art productions are measured. 1
