In June 2025, I spent three nights in Milan to take part in the Art for Tomorrow conference, held at the Triennale di Milano, whose central theme was Inequalities. I was invited as a speaker on the opening panel to share my trajectory and reflections on pixação as a political language, urban protest, and the ways in which art can also function as a tool of social exclusion. My talk addressed struggles for visibility, the boundaries between art and marginality, and the mechanisms through which institutions define what is considered art. The experience raised questions that extended beyond the space of the conference. That same night, I carried out an urban intervention on the facade of a thirteen-story abandoned building near Milan’s airport route. The action consisted of a large-scale pixação, accompanied by the question: “Can institutions handle what they claim for?” The intervention confronts the gap between discourse and practice in institutional art spaces, and proposes a reflection on who truly has access to these structures — as artists, as audiences, and as political subjects.