By relocating the biennial from the first-world to the third-world, the Ghetto Biennale deployed the productive force of antagonism to confront the one-sided flow of art from the third- to the first-world. In 2009, Artist André Eugène and curator Leah Gordon founded a biennale in the Grand Rue neighborhood of Port-au-Prince, Haiti that revealed the systematic inequalities underlying an art market that only touches small segments of the globe. They placed the first-world and third-world of art directly into conversation, creating an uncomfortable space that subverted the strict hierarchies of power in the art market. Rather than creating an echo chamber for the largely homogenous contemporary art world, the biennale offered local and international artists a space where they could collaborate, debate, and grapple with their difference. The Ghetto Biennale ultimately reframed and rebuilt the biennial as a more democratic institution.