La Trenza (The Braid) is a curatorial project developed by Yohanna M. Roa that proposes a decolonial feminist framework for exhibition-making, rethinking the archive, authorship, and curatorial authority through collaborative and embodied methodologies.
As articulated in a review published by Whitehot Magazine, the project operates as a “holistic framework for curatorial praxis,” foregrounding horizontality, transparency, and collective exchange as structuring principles.
The exhibition departs from the braid as both symbol and method—an epistemological structure that intertwines bodies, histories, and territories. Drawing from histories of resistance in which braiding functioned as a form of communication and survival, the project repositions curatorial practice as a relational and process-based system rooted in women’s embodied knowledge.
Developed through a chain of artistic and textual exchanges among artists and curators, La Trenza destabilizes hierarchical exhibition models, allowing meaning to emerge through dialogue, transmission, and collective authorship. In this way, the project resists the exhibition as a fixed product and instead activates it as an evolving, living structure.