The prolific increase in art fairs and biennials in recent years raises a much debated question: Are there too many art fairs and biennials in the world today? Many jump to conclusions with a resounding “yes.” However, a panel discussion at Pinta London—Europe’s only art fair dedicated to modern and contemporary Latin American, Spanish and Portuguese art (12-15 June 2014)—suggested otherwise.

The topic of biennales and their role was one of the many topics discussed during the panel, Activism: Women Promoting Art beyond their Borders. Some see art fairs and biennials as merely economic and cultural drivers: bringing tourism, cultural pride and recognition to a country or city. This panel, however, offered a refreshing perspective: Biennials, for example, play a pivotal role bringing people to a city, thereby opening people’s minds, overcoming fears and creating a general awareness about the globalized art world.

Art tourism may be a motivation for some: an opportunity to go to a new region or country. But a trip to Brazil, for the Mercosul Biennial, or Istanbul, for the Istanbul Biennial, by no means indicates mastery of country or culture, or so the argument goes. Ziba Ardalan, the director at London’s Parasol Unit and member of the panel, suggested that art with art tourism is better than without it. If art is what motivates a person to get to Russia, Brazil or any other country, so be it. Traveling to fairs or biennials can help bridge a divided world: drawing awareness to different cultures and the global impact on art. Although visitors may only see a fraction of a country, their experiences can open one’s eyes and mind—critical attributes in today’s world.

Many industries have become global the past few decades, and the arts are no exception. Without any indication that things will change, it can be assumed this trajectory will continue. Therefore, art fairs and biennials are quintessential ways to generate awareness and garner new art perspectives. It is not only the locations of the fairs or biennials, but also the exposure to arts from around the world that adds to this global theme. Sonia Falcone’s Campo de Color (Color Field) is one such example.

First, this piece references our global world by acknowledging an early example of globalization: trade. Campo de Color (Color Field), created from Ms. Falcone’s travels, consists of various spices—salt, coffee, clove, curry powder, cinnamon and nutmeg, among others. Shaped in small mounds, each spice has its own clay pot, creating a geometric formation on the floor. Undoubtedly engaging the senses with its vivid colors, bouquet of aromas and seemingly fine textures, it also recalls historical voyages and trade routes from hundreds of years ago in search of spices.

Although a particular spice could once be associated with a specific country’s cuisine, Ms. Falcone’s unified presentation in Campo de Color (Color Field) indicates this idea is changing. An amalgamation of diverse spices creates familiar and unfamiliar experiences, and an apt metaphor for this globalized world. Some of the smells are distinguishable. But instead of experiencing the spices individually, the spices are placed together—creating a uniting geometric shape devoid of hierarchy—producing a unique blend. Art writer and curator, Adriana Herrera, argues: “The numerous spices represent different traditions assessed and arranged in such a way that all are homogenous in their contribution to the celebration of variety.” Indeed, the fusion of culture and art are fitting undertones in this piece.

The display location of Campo de Color (Color Field) is a second important consideration. It appeared at the 55th Venice Biennial in 2013, and recently at Pinta London 2014. The different venues offer unique means to see and understand art. The Venice Biennial, for instance, is the oldest of the biennials, dating back to 1895. The presentation of Campo de Color (Color Field) at the 2013 biennial recalls Venice’s rich trade culture, particularly during the Italian Renaissance. Pinta London, however, provided a contemporary lense to see this piece: it denotes the Latin American influences on twenty-first century art in London, a cosmopolitan city and art capital. Exhibiting a piece ostensibly about globalization in various countries is also indicative of Ms. Falcone’s background: a Bolivian born artist living in Hong Kong, exhibiting art around the world.

Technological improvements in recent decades have contributed immensely towards our global world. As a result, travel and communication have connected us more than ever before. This impact has spread to the art world. Although art fairs and biennials are decades old, their increasing number are perhaps inevitable, given the world we live in today. But the attitude to view them is negotiable. Instead of “just another art fair,” look at the bigger role these art fairs and biennials play: an opportunity to see a work in a new context, generate cultural awareness and provoke broader conversation.

Pinta London was held at Earls Court Exhibition Centre in London, England, through 15 June 2014.