In 1925, a Mangbetu woman from north-eastern Congo became the viral campaign image of La Croisière Noire, a colonial propaganda expedition across the African continent, sponsored by Citroën. In 1934, construction began on Citroën’s flagship garage in Brussels, marketing the idea of imperial conquest as much as cars. Converted into the museum Kanal, the building reopens with the exhibition An infinite woman, revisiting in two parts how the Mangbetu women functioned as a colonial symbol and how artists of African descent have reclaimed and subverted this imagery until the present day. The first act is an archival investigation that traces how Mangbetus went viral as an "ethnographic fetish" consumed in the West as a pre-internet meme, through magazines, exhibitions and films. The second...