This chapter examines Chilean artist Voluspa Jarpa’s installation, Altered Views, presented in the Chile Pavilion at the 2019 Venice Biennale. I argue that Altered Views creates a “reversed cultural space” (Jarpa) that interrogates the legacies and epistemologies of European hegemonic museums while also foregrounding the Biennale as an historically contested site for national representation and as a global platform for “world art.” Altered Views unfolds in three installations: The Hegemonic Museum, The Subaltern Portraits Gallery, and The Emancipating Opera (directed by Felipe Ríos). While The Hegemonic Museum establishes a knowledge base for Altered Views through a series of case studies that document how hegemonic discourses and practices were universalized through colonialism, The Subaltern Portraits Gallery and The Emancipating Opera provide aesthetic interventions (i.e., portraits and a video-opera) that present counter-hegemonic narratives and emancipatory voices of art and music from Chile. Altered Views takes visitors on an expedition that proceeds from a documentary of hegemonic relations under colonialism – emanating in Europe and extending across the Americas – to the mobilization of insurgent forces of the subaltern, by fusing the visual, musical, and political dimensions of the portraits and video-opera. In conclusion, I suggest that by directly addressing visitors in the Biennale and the Chile Pavilion, Altered Views not only brings critical discourses on the contested histories of hegemonic museums into a productive tension with the Biennale, as a platform for world art, it also contributes to debates on how ethnographic museums might connect processes of (un)learning with Indigenous voices, visions, or artworks.