ABSTRACT
The methodologies for understanding the relationship between art and society and, more specifically, between art and social movements, have to a large extent centred around experiences in Europe and North America, where the foundational concerns of the relationship between aesthetics and politics are seen to have been thrown up. This comes along with a remarkable Eurocentrism in the analysis of works of art and their relationship to society. As a result, the understandings of the ideological, historical and sociological contours of cultural movements from nonmetropolitan contexts have been either absent or in a wider sense been understood as derivative discourses from Western canons.
