Slut terrorist  is a manifestation of guerrilla art, inspired by the concept theorized by art critic and researcher Frederico Morais in the 1970s in Brazil. During the period of the military dictatorship, this critic adapted strategies used by urban guerrillas to explore how art can challenge the boundaries between art and life, through surprise, and transform the spectator into hostage of an artistic experience.
 

In this specific case, the artist distributes 10,000 prostitution pamphlets during the vernissage, containing phone numbers and addresses of art galleries and museums that invited her to exhibit but did not remunerate her for her work. This performance seeks to operate within the logic of institutional critique and is performed without authorization, provoking a surprising situation for the spectator.
 

By distributing these pamphlets, the artist is questioning the system of valorization and exploitation of artistic work. She highlights the contradiction between the valorization and symbolic recognition conferred by artistic institutions and the lack of remuneration or financial recognition for artists. The performance aims to expose the power relations, imbalances, and injustices present in the art world, calling into question the institutions that do not do their part in supporting and recognizing artists.
 

This guerrilla performance seeks to destabilize the boundaries between the public and the private, questioning institutional norms and generating a moment of discomfort and reflection for the spectator. It is a way to criticize and contest the established structures, seeking to broaden the dialogue about the value of artistic work, ethics in institutional relations, and the redistribution of power in the field of art.