Martin presented a vision of the world that was not yet complete, but broader and therefore related understandings had to be developed. O'Neill (2012) highlights how Les Magiciens' representations of otherness adopted the approach of postmodernist pluralism (p. 57) highlighting diversity and difference that aligned with a global art world of much broader scope. Opening the scope of the art world, the Western vision is slowly but radically changing to encompass this awareness of what contemporary art used to be defined as on a global scale. An example of the opening of opportunities that followed can be drawn from Alfredo Jaar's (2014) reflections on the progress made since Les Magiciens. Jaar commented on how "provincial" he found New York upon his arrival from Santiago de Chile in 1982. The city was considered a "capital" of art but was completely absorbed in its own production and being Chilean he found it impossible to operate abroad. minority areas. His view is that Les Magiciens broke this central Euro-American vision and that the current more global art world in which it can now exist is the result of these ruptures in what he terms "Western art".