The opening weekend of the ‘AEI’ exhibition was an intense experience for all involved, but ultimately it was of limited duration. On the Sunday afternoon all those who had come from their Indigenous villages to be present packed up the arts and crafts that they had not managed to sell, their musical instruments and personal effects, and headed home. It left the exhibition in the chapel looking very bare (see figs 29–30). While a second group of Indigenous exhibitors would be present to curate the closing weekend, a month later, in the interim the exhibition was just the ten artworks that appear in the catalogue, overseen by two non-Indigenous attendants who had been trained up over the opening weekend to try to facilitate interaction and contextualisation in the absence of the Indigenous exhibitors. Although Anna Campagnac confirmed that a few photographs would subsequently be added to the exhibition to fill the visible gaps and provide more context for the exhibits, as Tawanã Kariri-Xocó commented in interview, it was like offering an experience of ‘nosso gesto sem a escuta’ [being seen but not heard]. Equally, Yarú Tupinambá stated,