In fact, the occurrence of Brocos' painting is concomitant with the period mentioned by Moura, where the black slave is discarded by a workforce that would be the standard of a progressive worldview, leaving the black population to submit to the whitening process. . This perspective of white supremacy was also strongly supported by eugenic science, as reported by Moura when citing the importance of scientist Nina Rodrigues in confirming the figure of black people as inferior to white people.

Racial eugenics even more dramatically insularized the Brazilian black population into a social, political and economic apartheid, its effects can still be felt today in the broadest aspects of society, but particularly in the field of art, this clash appears to be on a trajectory of inversion of this perspective by some black artists and curators who fight for equity in the appreciation, exhibition and expansion of art collections by black artists in the country.

Exemplo disso é o trabalho da artista Rosana Paulino, que trabalha com os conceitos de eugenia e do racismo biológico em suas obras, a artista se apropria de imagens de mulheres negras, símbolos de um holocausto catastrófico desde os mares atlânticos até o interior das terras do Brasil. Rosana denuncia em sua arte o apagamento secular de uma cultura e um povo arrastado de suas terras, de suas riquezas por uma alucinação branca. Para Moura, o projeto de aniquilação racial funcionava pelas vias da aculturação de modo muito bem orquestrado, planejado de forma a narrar a vitória branca frente ao atraso do negro, segundo o autor,