Paulo Nazareth works across mediums to critique the colonial experience in Brazil and the Americas. His Afro-indigenous background and lived experience are central to his practice, serving as a base to his continuous efforts in unmasking social and cultural tensions. Engaging with race, ideology and the unequal distribution of development, Nazareth acts not only as the artist, but also as a connector, a decoder, and a philosopher. Guarani-Asteca (2019) is part of a body of work called Produtos de genocídio (Products of Genocide), in which the artist calls attention to the complicity of consumers. Consisting mostly of products and entities named after indigenous communities that suffered near extinction at the hands of colonizers, this series highlights how these objects and logos easily become a part of everyday life while simultaneously masking or erasing their origins. By placing these objects inside semi-translucent purple resin boxes, the artist is preserves them for posterity, like fossils inside amber. These works become a painful reminder of the indigenous annihilation as well as their posthumous memory, inviting us to reflect on a genocide that must not be forgotten or overtaken by consumerism.