The purpose of this article is not to celebrate 1922 but to critically serve as a two-fold revisit. In the first moment, I attempted to problematize primitivism incorporation by Brazilian modernism. I argue that, in addition to the important discussion about the cultural appropriation of elements of indigenous populations, it was the impossibility of indigenous self-representation due to elitist, racial and colonial issues that shaped the Brazilian avant-garde in the 1920s. Then, I aim to demonstrate how contemporary indigenous art is devouring, digesting, and regurgitating new ways of critical art in Brazil. Published in February 2022 in E- International Relations.