This paper explores the centering of indigenous knowledge in Curatorial practice, with a focus on the Xhosa practice of ukuyala as a methodological framework for rethinking academic and curatorial work with African artworks. Decolonial debates in South African universities, museums, and galleries have concentrated on restitution, the revision of exhibition narratives, and the inclusion of African artists in the curricula. These interventions are important, but they do not address the methodological structures through which knowledge is produced and authorized. Drawing on scholarship on Ngugi wa Thiong’o’s call to move the centre of knowledge, Ndlovu-Gatsheni’s work on epistemological decolonisation, Shange’s theorisation of ukuthunywa, and indigenous methodologies advances by Chilisa, Seehawer, Diale, and others, the article suggests that ukuyala, understood here as a practice of guidance, ethical instruction, and intergeneration, communal learning, can support a shift from authoritative institutional interpretation towards relational, situated, and accountable forms of knowledge production. The proposal is conceptual rather than ethnographic. It argues that revisiting Indigenous Knowledge practices and developing them as methodologies for the arts can create a more plural intellectual environment in which African knowledge systems are treated as sources of theory and method.