Colonial-modern power is framed as an ongoing “anthropo-not-seen”: a world-making war that enforces the nature/culture split to render territories legible as resources, while Indigenous and local relational ontologies (kinship with rivers, lagoons, mountains) both exceed and interrupt that partition. Through conflicts over extraction, the text theorizes “ecologized nature” and ontological disagreement as political forces, proposing alliances and a commons built from constitutive divergence—uncommoning universal Nature to expose and contest the one-world world’s claim to progress and the common good.

Conceptual art’s vaunted “aesthetic autonomy” is shown to depend on labor alienation and supply-chain repression, where authorship and value are secured by legally and ideologically separating the idea from the exploited hands that execute it. Read through Marxist/Situationist critique and anti-colonial political economy, the banana ready-made becomes an evacuated symbol that aestheticizes domination—masking plantation violence, subcontracted artisanship, and class warfare while galleries and markets weaponize false critique to preserve capitalist hierarchy.