This article addresses the installations of the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin people, exhibited in Brazil, Spain and Austria. It draws a parallel between the arrival of Brazilian Indians in the urban circuit of ayahuasca and their presence in art institutions. These new forms of shamanism and ayahuasca circulate through national and international urban networks, attesting to the great vigour and adaptability of indigenous contemporary traditions. On the other hand, they raise controversial issues, linked to the respect for collective and ancient intellectual property and to stereotyped representation of "Others". Furthermore, the consumption of ayahuasca in Brazil is limited to certain settings and abroad it is often illegal. It will be argued that both the expansion of ayahuasca use and the insertion of indigenous arts in museums and galleries, point to a creative and fertile intercultural dialogue, but also raise issues about cultural "authenticity", appropriation, and commodification.