It would not be excessive to say that the production of art in the Caribbean within the last decades has largely exceeded the critical attempts to locate and historicize that production . In fact, historicizing has not been much in favor when it comes to Caribbean visual creativity, at least until recently. The reason for this is not just that the number of critical sources dedicated to map recent artistic phenomena are far more numerous than systematic historical accounts (which not necessarily have to be “the art history of art historians”, to borrow from Peter Osborne ). In any event, it is striking that the increasing number of exhibitions dedicated to map critically contemporary artistic phenomena from the Caribbean have largely avoided the task of defining what the contemporary stands for, assuming instead that the word can be taken at face value. Such assumption, in turn, implies ignoring another equally pressing question, namely what the most adequate critical and methodological tools for analyzing such temporal frame are.