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Belarusian artists and collectives have tended to work at the intersection of survival and expression. Their practices often incorporate the materiality of scarcity—repurposed media, appropriated archives, DIY exhibition strategies—while sustaining networks that span Minsk, smaller regional centers, and émigré communities in Poland, Lithuania, and beyond. The international attention directed toward Belarus in recent years amplifies both risks and possibilities: artworks become documents and testimonies, but they also risk being reduced to evidence in political narratives rather than appreciated on formal or speculative terms. Any account of art “to Belarus” or “from Belarus” must thus balance the urgency of politics with an ethics of aesthetic attention.