Over the past 20 years there has been a notable increase in the transnational circulation of cultural information through multiple forms of artistic activity. This activity has emerged in tandem with neoliberal models of global trade and the creation of interlocked systems of economic and cultural exchange. This circulation and its possible relationships with economic and culture patterns of globalization raise fundamental questions about the models upon which these activities are founded and status of the information once it has been presented in new cultural locations. Are artists now engaged in a new professionalized form of artistic tourism and amateur ethnography? And what is the relationship between tourism, information gathering and reception, and the exotic in contemporary art?

2012