Constituting a fundamental innovation for the exhibition, the curatorial projects would be chosen from then on through a selection process conducted by an international committee of critics and curators. Rethinking the purpose and direction of the exhibition, the 28th Bienal – “In Living Contact” carried out a radical proposal by keeping the second floor of the pavilion completely empty, as an Open Plan – a metaphor for the conceptual crisis experienced by traditional biennial systems faced by the institutions that organize them. The noteworthy episode of that edition was the graffiti on the pavilion's guardrails, which led to a discussion in the art milieu about urban art. Driven by a new impetus promoted by a new Board of Directors committed to the renewal of the institution, the Bienal inaugurated its 29th edition with a permanent educational project and a broad parallel program. Favoring politically-oriented works, the curatorship of Agnaldo Farias and Moacir dos Anjos held nearly 400 activities in the six conceptual spaces entitled Terreiros, and made its theme a verse by Jorge de Lima: “There is always a cup of sea to sail in”. "Bandeira branca" (2010), by Nuno Ramos, stirred controversy due to its live vultures flying in the central span of the pavilion accompanied by a montage of sounds from the national popular tradition. Titled “The Imminence of Poetics”, this edition of the Bienal adopted the constellation as a metaphor and established discursive interconnections between past and present; center and periphery; object and language. With a large number of works by each artist, the exhibition focused on Latin American artists and paid tribute to Arthur Bispo do Rosário and Waldemar Cordeiro. The project Mobile Radio set up a radio station on the mezzanine floor of the pavilion that had broadcasts throughout the entire period of the exhibition. The works of this edition – entitled “How to (…) things that don’t exist” – were designed within the concept of "project," many carried out in collaboration between two or more individuals – artists and professionals from other disciplines, such as teachers, sociologists, architects or writers. Daring, the exhibition established itself as being deeply connected with some central themes of contemporary life: identity, sexuality and transcendence. The 32nd Bienal – “Live Uncertainty” set itself the aim of observing notions of uncertainty and strategies offered by contemporary art to embrace or inhabit it.