After a thirteen-year hiatus, the Bahamian Pavilion has returned to Venice with a proposition that is as much educational as representational: that the Caribbean nation can be reintroduced to the world through its contemporary artistic inheritance. To do so, the pavilion turns to the late master John Beadle and his former student Lavar Munroe, framing their work through one of the Bahamas’ defining cultural touchstones — Junkanoo — the whistling, crepe-costumed procession that floods the islands twice a year and persists as a visual philosophy of resiliency and reverence. For Venice, this takes shape in the transformation of the San Trovaso Art Space in Dorsoduro, where large-scale sculptural works are assembled from strips of discarded Junkanoo costumes, in line with an event defined by perpetual re-imagination.…