This essay questions the tensions between the problems of writing about Haitian art and the problem with writing about Haitian art. Within this framework it questions the recurring emphasis of Vodou, specifically considering essays from the catalogue Continental Shifts, which features the art of Duval Carrié, whose oeuvre moves beyond the simply, flat, “primitive” styles associated with Haitian art to idiosyncratic installations, paintings, and sculptures that speak to the powerful visual and cultural elements of contemporary Haitian art.

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