Alfredo Volpi

Alfredo Volpi (Lucca, Italy, 1896 - São Paulo, SP, 1988)

Alfredo Volpi was a key figure in Brazilian painting throughout the 20th century and is considered by critics to be one of the leading representatives of the second generation of Brazilian modernism. Recognized for developing a unique language that ranged from figurative to geometric abstract, Alfredo Volpi created a body of work that remains alive in the national and international artistic imagination.

Alfredo Volpi, born in 1896 in Lucca, Italy, immigrated to Brazil with his family as a baby, settling initially in the Ipiranga region and later in the Cambuci neighborhood of São Paulo, where he lived for most of his life. From humble origins, he began his career as a carpenter and woodcarver, discovering his artistic calling at a young age. He was a student at the Brás Professional School for Men, where he was exposed to artistic practices and crafts.

Alfredo Volpi began his painting career in 1911, working as an interior decorator, creating murals and friezes for the homes of São Paulo's elite. His first easel painting dates back to 1914. During this period, he collaborated with the Spanish painter and sculptor Antonio Ponce Paz, with whom he developed artistic decorative works. He used oil on wood, but it was as a master of the tempera technique on canvas—which he prepared himself by hand with natural pigments, egg white, and varnish—that Alfredo Volpi achieved his most renowned style. He rejected the use of industrial paints, preferring materials he made himself as part of his constant search for essence, balance, and authenticity. He also saw this practice as a form of resistance to the automation and impersonality of modern art.

Alfredo Volpi participated in his first group exhibition at the Palácio das Indústrias in São Paulo in 1925. In the 1930s, he became involved with the Santa Helena Group, participating in live model and plein air painting sessions with artists such as Francisco Rebolo, Mário Zanini, Aldo Bonadei, Clóvis Graciano, Fúlvio Penacchi, and Ernesto de Fiori—the latter of whom had a significant influence on his work. Although not a formal member of the group, he regularly attended its meetings and maintained close ties with his colleagues. In 1934, he began participating in live model drawing sessions at the Praça da Sé studio. In 1936, he co-founded the São Paulo Visual Artists Union, and in 1937, he joined the São Paulo Artistic Family (FAP).

Alfredo Volpi's early work was marked by urban scenes, seascapes, and coastal landscapes, such as those of Itanhaém, with a strong impressionist influence and attention to light. This period also includes the series "Paisagens Marinhas," which includes works such as "Landscape with an Ox Cart" and "Casinha de Mogi das Cruzes." In 1938, he held his first solo exhibitions at the Salão de Maio and the 1st Exhibition of the São Paulo Artistic Family. In 1940, he won a competition sponsored by IPHAN with paintings based on the colonial architecture of São Miguel and Embu, solidifying his interest in popular and religious themes. His first solo gallery exhibition took place in 1944 at Galeria Itá in São Paulo.

In the 1940s, Alfredo Volpi began investigating Brazilian colonial art, guided by Emídio de Souza, which led to a decisive transformation in his work. In 1950, he traveled to Europe alongside Rossi Osir and Mário Zanini, where he encountered pre-Renaissance masters. This experience led him to explore formal simplification, constructive structures, and tempera as his primary working technique.

This new phase for Alfredo Volpi gave rise to his most iconic series—such as flags, facades, flagpoles, and hourglasses—in which symbols of Brazilian popular culture are given new life through rigorous geometry and a refined color palette. His work represents a fusion of popular culture and high art, translated into a unique visual vocabulary. A great colorist, Alfredo Volpi is widely recognized as one of Brazil's masters of color, forming, alongside Arcangelo Ianelli and Aldir Mendes de Souza, the triad studied in Alberto Beuttenmüller's book "3 Coloristas" (1989). His painting, increasingly abstract and geometric from the 1950s onward, was marked by a strong control of line, form, and color, with visual effects that flirted with kineticism and optical art.

Alfredo Volpi's international recognition came in 1953, when he shared the Best National Painter Award with Di Cavalcanti at the II São Paulo Biennial. In 1958, he received the Guggenheim Prize and, the following year, represented Brazil in exhibitions in New York and at the V Tokyo International Exhibition. In 1962, he was voted Best Painter of the Year by Rio de Janeiro critics. He participated in four editions of the Venice Biennale (1952, 1954, 1962, and 1964) and had works exhibited in Paris, Rome, and Buenos Aires. He was also present at the First National Exhibition of Concrete Art, albeit only as a visitor and interlocutor for his close colleagues. Despite his visual affinities with Concretism, Alfredo Volpi never affiliated himself with any artistic school or movement, maintaining an independent and deeply personal trajectory.

Alfredo Volpi created murals of great importance, such as those in the Church of Christ the Worker (1951), the Chapel of Our Lady of Fátima in Brasília (1959), and the fresco Dom Bosco in the Itamaraty Palace (1966). In 1962, he also created decorative panels for ships of the National Coastal Navigation Company. His work, with its refined visual harmony and enormous aesthetic coherence, resisted the pressures of the market and the trends of his time.

In his personal life, Alfredo Volpi met waitress Benedita da Conceição, nicknamed Judith, in 1927. He married her in 1942 and had a daughter, Eugênia—a likely model for the painting Mulata (1927). He also had other children, and his estate was later the subject of legal disputes among the heirs, including the removal of Eugênia as executor.

Alfredo Volpi's career was recognized with several honors, including the Anchieta Medal from the São Paulo City Council and the Order of Rio Branco, Grand Master, both in 1973. In 1976, upon his 80th birthday, he received the Order of Ipiranga, Grand Officer, from the São Paulo State Government. In 1986, the São Paulo Museum of Modern Art held a comprehensive retrospective of nearly 200 works. After his death in 1988, Alfredo Volpi was honored with a doodle on the Google Brazil homepage on April 14, 2013, and a municipal park in São Paulo dedicated to the environmental preservation of the Atlantic Forest is named after him.

Alfredo Volpi passed away in São Paulo on May 28, 1988, at the age of 92, leaving a singular legacy and a timeless body of work that remains one of the most important in modern Brazilian art.

Critical Commentary

Alfredo Volpi was an artist who constructed his work independently, with great visual and technical coherence. The son of Italian immigrants, Alfredo Volpi settled in São Paulo, where he lived practically his entire life. His artistic journey began with crafts and decorative painting, which influenced his relationship with materials and composition.

As early as the 1910s, Alfredo Volpi was already painting on wood and canvas, demonstrating a sensitivity to the use of color. His exposure to Anita Malfatti's exhibition in 1917 was his first exposure to the modern avant-garde. His debut in group exhibitions occurred in 1925, with works that already revealed a connection to Impressionism.

During the 1930s, Alfredo Volpi, even without occupying a studio in the Santa Helena building, joined the group that met there, participating in live painting sessions. This experience contributed to his technical development. Influences such as Ernesto de Fiori led him to prioritize the structure of forms over narrative. From then on, Alfredo Volpi began to stand out for his expressive control of color.

In the 1940s, Alfredo Volpi established himself as a painter of urban scenes, seascapes, and facades with a clear influence of colonial architecture. The use of artisanal tempera became a hallmark of his technique and artistic approach: detail-oriented, introspective, and meticulous. A trip to Europe in 1950 had a decisive impact—masters such as Giotto and Paolo Uccello inspired his interest in geometric forms and perspective.

Alfredo Volpi's creative maturity is evident in his series of flags, facades, and flagpoles. In these works, the artist transforms elements of popular imagination into structured visual rhythms, using repetition and chromatic variations as tools to synthesize tradition and modernity.

Recognized in Brazil and abroad, Alfredo Volpi rejected academicism without fully embracing the avant-garde. He remained independent, absorbing influences without succumbing to fads. His paintings reveal a balance between technical rigor and lyricism.

Alfredo Volpi's contribution to Brazilian art goes beyond visual originality. His work represents a sophisticated fusion of popular culture and formal elaboration. With a trajectory built on independence and solidity, Alfredo Volpi remains one of the leading names in modern art in Brazil.

Reviews

Willys de Castro
Catalog of the solo exhibition at Galeria São Luís, São Paulo, 1960

“Volpi paints volpis.

(...) Currently, the volpis of ‘houses,’ ‘flags,’ ‘facades,’ ‘compositions,’ are always the result that Volpi finds when simultaneously drawing on his experience within the figurative, the abstract, or the concrete. This is why Volpi paints like Volpi, confronting the sleight of hand of taste with what he astutely knows and believes he should paint.

It is therefore easy for us to discover that each of his paintings reveals a reality, dimensioned in a time without beginning or end, where each one constantly generates information from narratives, rationally without value.”

— VOLPI, Alfredo. A. Volpi: Paintings 1914-1972. Rio de Janeiro: MAM, 1972. p. 39.

Aracy Amaral

“A broad exposition of Volpi's development, of his current work in progress, in conjunction with what he did before, is valuable, especially so that one can appreciate the painting of a 'whole artist,' or that Volpi wholeness, so rare among us, as one of his admirers emphasized the other day.

Volpi left Brazil only once, for a few months, to go to Italy, mainly in 1950. However, one should not believe that this is an indication of stagnation; on the contrary, his current work radiates freshness, without recalling nostalgic revivals.

He was also extremely modern twenty years ago, in the 1950s, for the Concretists, who saw in him an example of construction and refinement. As in the 1940s, in the midst of the transfiguration of his figures and landscapes, tactile like a Rosai ('he remembers Rosai without having seen Rosai,' said Willys de Castro), or in capturing the atmosphere in his seascapes of Itanhaém, in the late 1930s.

It is difficult to explain Volpi's continued relevance, this modern 'being', without chasing trends, while simultaneously maintaining his singularity of expression.

— AMARAL, Aracy. Alfredo Volpi. In: VOLPI, Alfredo. A. Volpi: Paintings 1914-1972. Rio de Janeiro: MAM, 1972. p. 13.

Olívio Tavares de Araújo

“In the early 1940s, the views and seascapes of Itanhaém immerse themselves in a slightly unreal atmosphere, evoking something of ‘metaphysical painting’—although they bear no resemblance to it—and are achieved through the harsh colors and the economy of voluntary images: in no work does any accessory element survive.

From the late 1940s onward, reality no longer even appears as a stimulus, but merely as a repository of images, an iconographic repertoire from which Volpi extracts existing, isolated forms—doors, windows, roofs, streets, courtyards, boats, railings, lines of the sea or the horizon—as if they were abstract signs.

From then on, the series of facades begins; and with them the door to pure geometric abstraction opens.

The conditions for him (Volpi) to fulfill his role as consummate master, and rise to the unique position he occupies today, only came together after 55. The definitive Volpi dates from post-concretism, the one who managed to do what very few others did, the one who can compete on the international level of inventiveness and quality.”

— ARAÚJO, Olívio Tavares. Volpi: The Construction of the Cathedral. São Paulo: MAM, 1981. p. 14–15, 19.

Lygia Pape

“I think Volpi is one of our great colorists. (...)

I think Volpi achieves an incredible synthesis in the portals and the Saint John's Day festivities. His brushstrokes, on the contrary, have a strong vibration. In his early works, his colors were more flat. But, at the end of his life, when he painted those surfaces that look like flags but are already enormous abstractions, giving extremely vibrant colors and changing the direction of the brush to achieve a certain vibration, it seems as if the color is alive there.

I find it so subtle and so rich, it's pure light!

The fantastic thing is that, despite his economy, he gets to the heart of expression, the essence of quality. Few artists have done this. Van Gogh did it when he painted the sky with one brushstroke and the crows with another. Volpi did it without ever having heard of Van Gogh.”

— LYGIA Pape. Rio de Janeiro: Funarte, 1983. p. 36.

Rodrigo Naves

“For Volpi, on the contrary, the rough aspect of his forms is not a sign of solidity, but rather of a slow wear that led the object to a natural confidence.

Like those shoemaker's knives whose blades develop a crescent shape over time, or the parts of an oxcart that acquire a smooth and polished appearance through friction, what is observed is not so much the resistance of the material or the imposition of a contour, but rather the patient work of time, the loving accumulation of an activity whose rhythm escapes the abstract temporality of capital.

Volpi's worn forms, by their origin, are unfinished. At any moment, they can give way again and acquire new profiles. Currentness, in this work, does not mean the conquest of a definitive present, which finds expansion in the indisputable validity of color or structure. It asserts itself in the possibility of rearrangements. constants, which add up permanently.”

— NAVES, Rodrigo. Anonymity and singularity in Volpi. In: The difficult form: essays on Brazilian art. São Paulo: Ática, 1996. p. 182.

Lorenzo Mammì

“Alfredo Volpi was a nearly illiterate man, but a painter of great visual culture.

The particularities of Brazil's cultural history led him to follow a path that in Europe would take several generations—from Romantic painting to the crisis of modernism. In a country characterized by short-lived artistic explosions, he produced high-quality painting for almost seventy years—for at least thirty years, a great painting.

His art never made leaps: it evolved through gradual modifications and incorporations, which allowed him to reduce a considerable range of influences to an original language.

He never traveled, except for a brief period in 1950, but he had a very keen sensitivity to take advantage of what was at hand—and what was at hand, after all, was not so little.

He was not a painter of system, but rather method: he manipulated disparate information, ranging from macchiaioli to Albers, until he fitted it into his art.

It was in this slow digestion, more than in anthropophagic indigestion, that a convincing model of modern Brazilian art emerged.

Volpi's modernism is a modernism of memory, affective and artisanal, slow-paced and soft-spoken. It does not project itself into the future, nor can it account for the instantaneous and contourless clicks of contemporary life. It remains, however, as a horizon and a promise—like Bandeira's poems and Caymmi's songs.

— MAMMÌ, Lorenzo. Volpi. In: VOLPI. São Paulo: Cosac & Naify, 1999. p. 39.

Sônia Salzstein

“When, in the early 1950s, Volpi’s first paintings appeared, projected in a fully two-dimensional space, it was not a modern shift or rupture in the career of the old artist.

We know that since the second half of the 1940s, even before the full advent of that two-dimensional space, Volpi had been dealing with the notion of surface from an almost solitary position in Brazilian art.

The field of representation was then reduced to a repertoire of constant elements, whose narrative function the painter patiently smoothed out, until, at the beginning of the 1950s, they emerged in a play of mobile and interchangeable formal elements—although, in this process, the affective reference of the suburbs was never lost, and there was no doubt that what was being portrayed was a family memory of facades and windows.

Color had already emerged as an autonomous, structural element; it was as if Volpi, after almost three decades of intimate modesty and chromatic restraint in Brazilian art, reopened a stalled chapter in national painting, resuming the frank and radiant planes that had stunned—and prematurely dulled—Tarsila's work, and the notion of a continuous surface, which radiated toward city life.

— SALZSTEIN, Sônia. Modern Suburb. In: Volpi. Rio de Janeiro: Campos Gerais, 2000. p. 38.

Testimonials

“(...) The thing is, I've always painted my paintings that 'come out,' I've never followed any current. The concretists invited me, I went to exhibit with them... but I never thought about following anyone or any current...

Once, in '57 or '58, we went to see a house nearby, with Mário Pedrosa. There were some of my geometric lines on the facade—he thought it was fantastic—they were from the '30s or '40s...

I've always painted what I felt. My painting has gradually transformed: it starts with nature, then it goes outside. Sometimes it continues...

I never think about what I'm doing. I only think about the problem of line, form, color. Nothing else...

My paintings have a construction. The problem is just painting—they don't represent anything.

That comes gradually, yeah a slow thing, it's a problem. My whole life has been like that.”

— Alfredo Volpi, 1957. In: SALZSTEIN, Sônia. Volpi. Rio de Janeiro: Campos Gerais, 2000. p. 283.

Education

Self-taught, Alfredo Volpi built his artistic career far from traditional academic circles. Although he never admitted the direct influence of painters or movements on his work, critics identify formal and conceptual affinities with the production of the Italian-German artist Ernesto de Fiori (1884–1945), especially in works created between the late 1930s and early 1940s. Even so, Volpi always maintained that his painting was born from a personal and intuitive experience, guided by a continuous search for form, color, and artistic construction.

Chronology

n. d. - São Paulo, SP - Works as a carpenter, woodcarver, and bookbinder
1897/1988 - São Paulo, SP - Comes to Brazil with his parents, settling in São Paulo
1912 - São Paulo, SP - Begins working as a painter and home decorator
1918 - São Paulo, SP - Works with Orlando Duílio Tarquínio Rossi (1894 - 1970) on decoration work for the Military Hospital, in the Ipiranga neighborhood. The painting was not preserved. 1935 - São Paulo, SP - Participates in the formation of the Santa Helena Group, alongside Francisco Rebolo (1902 - 1980), Bonadei (1906 - 1974), Clóvis Graciano (1907 - 1988), Mario Zanini (1907 - 1971), and Fulvio Pennacchi (1905 - 1992). 1936 - São Paulo, SP - Participates in the founding of the São Paulo Visual Artists Union. 1937 - São Paulo, SP - Receives a bronze medal from the São Paulo Museum of Fine Arts. 1937/1938 - Piracicaba, SP - Works on the decoration of the chapel of the Monte Alegre Sugar Mill, with the collaboration of Aldorigo Marchetti and Mario Zanini. 1937/1938 - São Paulo, SP - Joins the Artistic Family Paulista - FAP
ca.1938 - Itanhaém SP - He went to Itanhaém every week for three years. Produces numerous seascapes and meets the painter Emídio de Souza (1868 - ca. 1949)
1940/ca. 1950 - São Paulo SP - Creates works for Osirarte, by Rossi Osir (1890 - 1959)
1941 - São Paulo SP - Receives the award for best work for the monuments of São Miguel and Embu
1945 - São Paulo SP - Creates, with Rossi Osir, Zanini, Rebolo, and others, the decorations for a carnival ball, the proceeds of which go to the foundation of the Club of Artists and Friends of Art
1946 - São Paulo SP - Begins painting the "facades" series
1949 - São Paulo SP - Creates two murals at the Hospital de São Luís Gonzaga
1950 - Europe - Makes his only trip to Europe, accompanied by Mario Zanini and Rossi Osir. Remains in Italy for almost six months. 1951 - São Paulo, SP - Paints murals and prepares designs for the stained glass windows of the Church of Christ the Worker. 1953 - Receives the UNESCO Acquisition Award. 1954 - Bahia - Travels with Theon Spanudis (1915 - 1986). 1958 - Brasília, DF - Paints frescoes and designs vestments for the Chapel of Our Lady of Fatima of the Social Pioneers. 1958 - United States - Receives the Guggenheim Award. 1959 - São Paulo, SP - Member of the selection jury for the Brazilian representation at the 5th International Biennial of São Paulo, at the Ciccilo Matarazzo Sobrinho Pavilion. 1962 - Creates panels for the Companhia de Navegação Costeira, with the assistance of the painter Décio Vieira (1922 - 1988)
1962 - Rio de Janeiro RJ - He is chosen by art critics as the best Brazilian painter
1966 - Brasília DF - He creates the fresco Vision of Dom Bosco, at the Itamaraty Palace
1966 - Rio de Janeiro, RJ - He is chosen by art critics as the best Brazilian painter. 1971 - Rio de Janeiro, RJ - He receives the Golden Dolphin Award for the best exhibition held in 1970 at the MIS/RJ. 1973 - Brazil - He receives the title of Grand Master of the Order of Rio Branco. 1973 - Italy - He receives the title of Commander of the Order of Merit of the Italian Republic. 1973 - São Paulo, SP - He receives the Anchieta Medal from the São Paulo City Council. 1973 - São Paulo, SP - He receives the Global Personality Award from the State Government. 1973 - São Paulo, SP - He receives an award from the São Paulo Association of Art Critics - APCA. 1975 - Olívio Tavares de Araújo directs the documentary Alfredo Volpi. 1975 - He receives the Pero Vaz de Caminha medal and the plaque of Silver Phillips of Brazil
1976 - São Paulo SP - Receives the Order of Ipiranga and is honored at the São Paulo City Council
1977 - Receives the Bandeirante do Brasil diploma, awarded by the National Institute for Cultural Expansion
1977 - Receives the Global Personality trophy, awarded by the newspaper O Globo and Rede Globo de Televisão
1977 - São Paulo SP - Is honored with the Francisco Matarazzo Sobrinho Trophy, at the Francisco Matarazzo Sobrinho Cultural Center
1978 - Receives the Giuseppe Garibaldi Legion of Honor silver medal
1983 - São Paulo SP - Receives the Paulista Medal, in honor of Paulistur
1986 - New York (United States) - Gabriela Mistral Visual Arts Award, from the Organization of American States

Collections

Pinacoteca Collection of the State of São Paulo/Brazil - São Paulo SP
Visual Arts Collection of the Institute of Brazilian Studies - USP - IEB/USP - São Paulo SP
Gilberto Chateaubriand Collection - MAM/RJ - Rio de Janeiro RJ
Museum of Contemporary Art of the University of São Paulo - MAC/USP - São Paulo SP
Museum of Modern Art of São Paulo - MAM/SP - São Paulo SP

Solo Exhibitions

1944 - São Paulo SP - Solo, at the Itá Gallery
1945 - São Paulo SP - Solo, at the Domus Gallery
1946 - São Paulo SP - Solo, at the Domus Gallery
1955 - São Paulo SP - Solo, at the Gallery Tenreiro
1956 - São Paulo SP - Solo show, at MAM/SP
1957 - Rio de Janeiro RJ - Alfredo Volpi: retrospective, at MAM/RJ
1960 - São Paulo SP - Solo show, at São Luís Gallery
1962 - Rio de Janeiro RJ - Solo show, at Petite Galerie
1965 - Rio de Janeiro RJ - Solo show, at Petite Galerie
1969 - São Paulo SP - Twenty Years of Alfredo Volpi's Painting 1948/1968, Cosme Velho Gallery
1970 - Rio de Janeiro RJ - Solo show, at Petite Galerie
1971 - São Paulo SP - Solo show, at Ralph Camargo Gallery
1972 - Rio de Janeiro RJ - Alfredo Volpi: some selected works 1925-1972, at Barcinsky Gallery
1972 - Rio de Janeiro RJ - Alfredo Volpi: Painting 1914-1972, at MAM/RJ
1975 - São Paulo SP - Alfredo Volpi: Retrospective, at MAM/SP
1976 - Campinas SP - Volpi: The Essential Vision, at MACC
1976 - São Paulo SP - Solo exhibition, at Galeria Cosme Velho
1980 - Brasília DF - Solo exhibition, at Galeria Oswaldo Goeldi
1980 - Rio de Janeiro RJ - Temperas by Alfredo Volpi, at Acervo Galeria de Arte
1980 - São Paulo SP - Volpi - The Small Great Works: Three Decades of Painting, at A Ponte Galeria de Arte
1981 - São Paulo SP - A. Volpi: The Early Years and the 1920s, at Galeria Cosme Velho
1984 - Brasília DF - Solo exhibition, at Galeria Oscar Seraphico Art
1985 - Rio de Janeiro, RJ - Solo exhibition, at Bonino Gallery
1985 - São Paulo, SP - Volpi, 89 years old, at Dan Gallery
1986 - São Paulo, SP - Alfredo Volpi: 90 years old. A documentary record by Calixto, at MAC/USP
1986 - São Paulo, SP - Volpi: 90 years old, at MAM/SP
1987 - Rio de Janeiro, RJ - A. Volpi: works from different periods, at Contorno Gallery

Group Exhibitions

1925 - São Paulo, SP - 2nd General Exhibition of Fine Arts, at the Palace of Industries
1928 - São Paulo, SP - Muse Italiche Fine Arts Salon, at the Palace of Industries - gold medal
1933 - Rio de Janeiro, RJ - 40th General Exhibition of Fine Arts, at Enba - bronze medal
1934 - São Paulo, SP - 1st Paulista Fine Arts Salon, on 11 de Agosto Street
1935 - São Paulo, SP - 3rd Paulista Fine Arts Salon, bronze medal
1936 - São Paulo, SP - 4th Paulista Fine Arts Salon
1936 - São Paulo, SP - Exhibition of Small Paintings, at the Palace of Arcadas
1937 - São Paulo, SP - 1st Artistic Family Salon Paulista, at the Esplanada Hotel in São Paulo. 1938 - São Paulo, SP - 2nd May Salon, at the Esplanada Hotel in São Paulo. 1938 - São Paulo, SP - 4th Salon of the Union of Visual Artists. 1939 - São Paulo, SP - 2nd Salon of the Paulista Artistic Family, at the Automobile Club. 1939 - São Paulo, SP - 3rd May Salon, at the Itá Gallery. 1939 - São Paulo, SP - 5th Salon of the Union of Visual Artists, at the Prestes Maia Gallery. 1940 - Porto Alegre, RS - 2nd Salon of the Institute of Fine Arts of Rio Grande do Sul. 1940 - Rio de Janeiro, RJ - 46th National Salon of Fine Arts, at the MNBA. 1940 - Rio de Janeiro, RJ - 3rd Salon of the Paulista Artistic Family, at the Palace Hotel. 1941 - Rio de Janeiro, RJ - 47th National Salon of Fine Arts, at the MNBA 1941 - São Paulo, SP - 1st Osirarte Salon, at 124 Barão de Itapetininga Street 1941 - São Paulo, SP - 6th Salon of the Union of Visual Artists, at the Prestes Maia Gallery 1941 - São Paulo, SP - 1st Art Salon of the National Industries Fair, at Água Branca Park 1942 - Rio de Janeiro, RJ - 48th National Salon of Fine Arts, at the MNBA 1942 - São Paulo, SP - 7th Salon of the Union of Visual Artists, at the Prestes Maia Gallery 1943 - Rio de Janeiro, RJ - 49th National Salon of Fine Arts, at the MNBA 1943 - Rio de Janeiro, RJ - Anti-Axis Exhibition, at the Historical and Diplomatic Museum - Itamaraty Palace
1943 - Rio de Janeiro, RJ - Osirarte Tile Exhibition at the MNBA
1944 - Belo Horizonte, MG - Modern Art Exhibition at the Mariana Building
1944 - London (England) - Exhibition of Modern Brazilian Paintings at the Royal Academy of Arts
1944 - Norwich (England) - Exhibition of Modern Brazilian Paintings at the Norwich Castle and Museum
1944 - São Paulo, SP - 9th Salon of the Visual Artists' Union, at the Prestes Maia Gallery
1944 - São Paulo, SP - Nelson Nóbrega, Alfredo Volpi, Anita Malfatti, Clóvis Graciano, Hilde Weber, and Francisco Rebolo, at the Jaraguá Gallery
1945 - Bath (England) - Exhibition of Modern Brazilian Paintings at the Victoria Art Gallery
1945 - Bristol (England) - Exhibition of Modern Brazilian Paintings, at the Bristol City Museum & Art Gallery
1945 - Edinburgh (Scotland) - Exhibition of Modern Brazilian Paintings, at the National Gallery
1945 - Glasgow (Scotland) - Exhibition of Modern Brazilian Paintings, at the Kelingrove Art Gallery
1945 - Manchester (England) - Exhibition of Modern Brazilian Paintings, at the Manchester Art Gallery
1945 - São Paulo, SP - Alfredo Volpi, Bonadei, Carlos Prado, Quirino da Silva, Francisco Rebolo, Mario Zanini, and José Pancetti, at the Benedetti Gallery
1945 - São Paulo, SP - Anita Malfati, Virgínia Artigas, Clóvis Graciano, Mick Carnicelli, Oswald de Andrade Filho, José Pancetti, Carlos Prado, Francisco Rebolo, Quirino da Silva, Alfredo Volpi, Mario Zanini, at the Itapetininga Gallery
1945 - São Paulo, SP - Domus Gallery: inaugural exhibition, at the Gallery Domus
1946 - Buenos Aires (Argentina) - Osirarte, at the Salón Peuser
1946 - São Paulo SP - 10th Salon of the Visual Artists Union, at the Prestes Maia Gallery - Mário de Andrade Award
1946 - São Paulo SP - Osirarte, at the Benedetti Gallery
1947 - Mendoza (Argentina) - Osirarte, at the Gimenez Gallery
1947 - São Paulo SP - 11th Salon of the Visual Artists Union, at the Prestes Maia Gallery
1948 - Rio de Janeiro RJ - Paulista Painters, at the Ministry of Education and Culture
1948 - São Paulo SP - 12th Salon of the Visual Artists Union, at the Domus Gallery
1948 - São Paulo SP - Mario Zanini, Rebolo, Sérgio Milliet and Volpi, at the Gallery Domus
1949 - Rio de Janeiro, RJ - Exhibition of Paulista Painting
1949 - Salvador, BA - 1st Bahian Salon of Fine Arts, at the Bahia Hotel
1950 - São Paulo, SP - Alfredo Volpi, Nelson Nóbrega, Zanini, Francisco Rebolo, at the Domus Gallery
1950 - Venice (Italy) - 25th Venice Biennale
1951 - São Paulo, SP - 1st São Paulo International Biennial, at the Trianon Pavilion
1951 - São Paulo, SP - 1st Paulista Salon of Modern Art, at the Prestes Maia Gallery
1952 - Rio de Janeiro, RJ - Exhibition of Brazilian Artists, at the MAM/RJ
1952 - São Paulo, SP - Volpi, Zanini, Rossi, at the Italian-Brazilian Cultural Center
1952 - Venice (Italy) - 26th Venice Biennale - Acquisition Prize
1953 - São Paulo, SP - 2nd International Biennale of São Paulo, at the Pavilhão dos Estados - Best National Painter Prize, shared with Di Cavalcanti
1953 - São Paulo, SP - Extraordinary Congress of the International Association of Art Critics, at Masp
1954 - Goiânia, GO - Exhibition of the National Congress of Intellectuals
1954 - Rome, Italy - Brazilian Exhibition, at the Galleria Nazionale d'Arte Moderna
1954 - São Paulo, SP - Contemporary Art: exhibition of the collection of the São Paulo Museum of Modern Art, at MAM/SP
1954 - Venice (Italy) - 27th Venice Biennale
1955 - São Paulo, SP - 3rd International São Paulo Biennial, at the Pavilion of Nations
1955 - São Paulo, SP - 4th São Paulo Salon of Modern Art, at the Prestes Maia Gallery - State Governor's Award
1956 - São Paulo, SP - 1st National Exhibition of Concrete Art, at MAM/SP
1956 - São Paulo, SP - 50 Years of Brazilian Landscape, at MAM/SP
1957 - Rio de Janeiro, RJ - 1st National Exhibition of Concrete Art, at MAM/RJ
1957 - São Paulo, SP - 4th International São Paulo Biennial, at Ciccilo Matarazzo Sobrinho Pavilion
1959 - Leverkusen (Germany) - First Group Exhibition of Brazilian Artists in Europe
1959 - Munich (Germany) - First Group Exhibition of Brazilian Artists in Europe, at the Kunsthaus
1959 - New York (United States) - Guggenheim International Award: 1958, at the Solomon R. Guggenheim Museum
1959 - Rio de Janeiro RJ - 30 Years of Brazilian Art, at the Macunaíma Gallery
1959 - Tokyo (Japan) - 5th Tokyo Biennale
1959 - Vienna (Austria) - First Group Exhibition of Brazilian Artists in Europe
1960 - Hamburg (Germany) - First Group Exhibition of Brazilian Artists in Europe
1960 - Lisbon (Portugal) - First Group Exhibition of Brazilian Artists in Europe
1960 - Madrid (Spain) - First Group Exhibition of Brazilian Artists in Europe
1960 - Paris (France) - First Group Exhibition of Brazilian Artists in Europe
1960 - São Paulo, SP - Leirner Collection, at the Folhas Art Gallery
1960 - Utrecht (Netherlands) - First Group Exhibition of Brazilian Artists in Europe
1961 - Rio de Janeiro, RJ - 1st The Face and the Work, at the Ibeu Copacabana Gallery
1961 - São Paulo, SP - 6th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion
1962 - São Paulo, SP - Selection of Brazilian Art Works from the Ernesto Wolf Collection, at MAM/SP
1963 - Campinas, SP - Contemporary Painting and Sculpture, at the Carlos Gomes Museum
1963 - Rio de Janeiro, RJ - Landscape as a Theme, at the Ibeu Copacabana Gallery
1963 - São Paulo, SP - New Trends Gallery: inaugural group show, at the New Trends Visual Arts Association
1963 - Stuttgart (Germany) - Exhibition, at the Studium Generale Gallery
1964 - Rio de Janeiro, RJ - The Nude in Contemporary Art, at the Ibeu Copacabana Gallery
1964 - Venice (Italy) - 32nd Venice Biennale
1966 - Rio de Janeiro, RJ - The Artist and the Machine, at MAM/RJ
1966 - Salvador, BA - 1st National Biennial of Visual Arts - Hors Concours
1966 - São Paulo, SP - Half a Century of New Art, at MAC/USP
1966 - São Paulo, SP - The Artist and the Machine, at Masp
1966 - São Paulo SP - The Santa Helena Group, Today, at the 4 Planetas Gallery
1966 - São Paulo SP - Three Premises, at MAB/Faap
1967 - São Paulo SP - The Paulista Artistic Family: Thirty Years Later, at the Itália Auditorium
1970 - São Paulo SP - 2nd Panorama of Contemporary Brazilian Art, at MAM/SP - Best National Painter Award
1971 - Rio de Janeiro RJ - 9th JB Art Summary, at MAM/RJ
1972 - São Paulo SP - 2nd International Printmaking Exhibition, at MAM/SP
1972 - São Paulo SP - The Week of 22: antecedents and consequences, at Masp
1972 - São Paulo SP - Art/Brazil/Today: 50 years later, at the Collection Gallery
1972 - São Paulo SP - Santa Helena Group: drawings, at Azulão Galeria
1972 - São Paulo SP - Brazilian Themes, at Paço das Artes
1973 - São Paulo SP - 1st Brazil-Japan Fine Arts Exhibition
1973 - São Paulo SP - 5th Panorama of Current Brazilian Art, at MAM/SP
1973 - São Paulo SP - Eight Painters of the Santa Helena Group Helena, at the Uirapuru Art Gallery
1975 - Rio de Janeiro RJ - 2nd Brazil-Japan Fine Arts Exhibition, at the Lume Center
1975 - São Paulo SP - 2nd Brazil-Japan Fine Arts Exhibition, at the São Paulo State Legislative Assembly
1975 - São Paulo SP - 40 Years: Santa Helena Group, at MIS/SP
1975 - São Paulo SP - Modernism from 1917 to 1930, at the Lasar Segall Museum
1976 - São Paulo SP - 8th Panorama of Current Brazilian Art, at MAM/SP
1976 - São Paulo SP - The Salons: of the Paulista Artistic Family, of Maio and of the Union of Visual Artists of São Paulo, at the Lasar Segall Museum
1977 - Rio de Janeiro RJ - Brazilian Constructive Project in Art: 1950-1962, at MAM/RJ
1977 - São Paulo SP - Seibi Group - Santa Helena Group: 1935-1945, at MAB/Faap
1977 - São Paulo SP - Brazilian Constructive Project in Art: 1950-1962, at the State Art Gallery
1978 - Penápolis SP - 3rd Noroeste Visual Arts Salon, at the Penápolis Educational Foundation. Faculty of Philosophy, Sciences and Letters of Penápolis 1978 - Rio de Janeiro, RJ - 3rd Art Now: Latin America, Sensitive Geometry, at MAM/RJ 1978 - São Paulo, SP - Biennials and Abstraction: the 1950s, at the Lasar Segall Museum 1978 - São Paulo, SP - Constructivist and Figurative Art in the Theon Spanudis Collection, at the Porto Seguro Arts Center 1979 - São Paulo, SP - 15th São Paulo International Biennial, at the Biennial Foundation 1979 - São Paulo, SP - 4th Brazil-Japan Fine Arts Exhibition 1979 - São Paulo, SP - Theon Spanudis Collection, at MAC/USP 1979 - São Paulo, SP - Drawings in the 1940s: Tribute to Sérgio Milliet, at the Mário de Andrade
1979 - São Paulo SP - The Santa Helena Group, at the Uirapuru Art Gallery
1979 - São Paulo SP - Four Colorists, at the Christina Faria de Paula Art Gallery
1980 - Buenos Aires (Argentina) - Eight Years of Brazilian Art, at Itaú Bank
1980 - Rio de Janeiro RJ - Tribute to Mário Pedrosa, at the Jean Boghici Gallery
1980 - Rio de Janeiro RJ - Milton Dacosta, Volpi, Bruno Giorgi, at the Art Gallery Collection
1980 - Santiago (Chile) - 20 Brazilian Painters, at the Chilean Academy of Fine Arts
1981 - Atami (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Brasília DF - 5th Fine Arts Exhibition Brazil-Japan
1981 - Kyoto (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Maceió AL - Brazilian Artists from the First Half of the 20th Century, at the Historical and Geographical Institute
1981 - Nekai (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Rio de Janeiro RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1981 - São Paulo SP - 5th Brazil-Japan Fine Arts Exhibition
1981 - São Paulo SP - Transcendent Art, at MAM/SP
1981 - São Paulo SP - Contemporary Brazilian Artists, at the São Paulo Art Gallery
1981 - São Paulo, SP - Rebolo and the Santa Helena Painters, at the Dan Gallery
1981 - Tokyo, Japan - 5th Brazil-Japan Fine Arts Exhibition
1982 - Bauru, SP - 80 Years of Brazilian Art
1982 - Lisbon, Portugal - From Modern to Contemporary: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Center for Modern Art
1982 - London, England - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at the Barbican Art Gallery
1982 - Marília, SP - 80 Years of Brazilian Art
1982 - Rio de Janeiro, RJ - Football: Interpretations, at the Banerj Art Gallery
1982 - Rio de Janeiro, RJ - What House is this of Brazilian Art
1982 - Salvador BA - Brazilian Art from the Odorico Tavares Collection, at the Carlos Costa Pinto Museum
1982 - São Paulo SP - 80 Years of Brazilian Art, at MAB/Faap
1982 - São Paulo SP - From Modernism to the Biennial, at MAM/SP
1982 - São Paulo SP - Seascapes and Riversides, at the Lasar Segall Museum
1983 - Belo Horizonte MG - 80 Years of Brazilian Art, at the Clóvis Salgado Foundation. Palace of Arts 1983 - Campinas, SP - 80 Years of Brazilian Art, at MACC 1983 - Curitiba, PR - 80 Years of Brazilian Art, at MAC/PR 1983 - Ribeirão Preto, SP - 80 Years of Brazilian Art 1983 - Santo André, SP - 80 Years of Brazilian Art, at Santo André City Hall 1984 - Ourinhos, SP - Tribute to the Art of Engraving in Brazil, at Itaugaleria 1984 - Rio de Janeiro, RJ - Active Brazilian Painting, at Espaço Petrobras 1984 - São Paulo, SP - Gilberto Chateaubriand Collection: portrait and self-portrait of Brazilian art, at MAM/SP 1984 - São Paulo, SP - Tradition and Rupture: synthesis of Brazilian art and culture, at the Foundation Biennial
1985 - Curitiba, PR - Four Masters: Four Visions, at the Simões de Assis Art Gallery
1985 - Rio de Janeiro, RJ - 8th National Visual Arts Salon, at MAM/RJ
1985 - Rio de Janeiro, RJ - Encounters, at the Petite Galerie
1985 - Rio de Janeiro, RJ - Rare Works, at the Ralph Camargo Gallery
1985 - São Paulo, SP - 100 Itaú Works, at Masp
1985 - São Paulo, SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1985 - São Paulo, SP - Osirarte: paintings on tile and Volpi, Zanini, Hilde Weber, and Gerda Brantani, at the State Art Gallery
1986 - Rio de Janeiro, RJ - JK and the 1950s: a vision of culture and everyday life, at the Investiarte Gallery
1986 - Rio de Janeiro RJ - Seven Decades of Italian Presence in Brazilian Art, at the Imperial Palace
1986 - São Paulo SP - 90 Years Retrospective
1986 - São Paulo SP - Six Times: 80 Years, at the State Art Gallery
1987 - Paris (France) - Modernity: 20th-Century Brazilian Art, at the Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 20th Contemporary Art Exhibition, at the Chapel Art Show
1987 - São Paulo SP - The Biennials in the MAC Collection: 1951 to 1985, at MAC/USP
1987 - São Paulo SP - The Craft of Art: Painting, at Sesc
1988 - Rio de Janeiro RJ - 2nd Geometric Abstraction, at Funarte. Arts Center
1988 - São Paulo SP - Brasiliana: Man and Earth, at the State Art Gallery
1988 - São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, at MAC/USP
1988 - São Paulo SP - Modernity: 20th-Century Brazilian Art, at MAM/SP

Posthumous Exhibitions

1988 - Rio de Janeiro, RJ - Hedonism: Gilberto Chateaubriand Collection, at the Gilberto Chateaubriand Building Gallery
1988 - São Paulo, SP - 15 Years of Brazil-Japan Fine Arts Exhibition, at the Mokiti Okada M.O.A. Foundation
1989 - Copenhagen (Denmark) - Rhythms and Forms: Contemporary Brazilian Art, at the Charlottenborg Museum
1989 - Fortaleza, CE - Brazilian Art of the 19th and 20th Centuries in the Ceará Collections: Paintings and Drawings, at the Unifor Cultural Space
1989 - Rio de Janeiro, RJ - Geometry without a Manifesto, at the Cleide Wanderley Art Office
1990 - São Paulo, SP - Coherence - Transformation, at the Raquel Arnaud Art Office
1992 - Paris (France) - Latin American Artists of the Twentieth Century, at the Centre Georges Pompidou
1992 - Poços de Caldas MG - Brazilian Modern Art: collection of the Museum of Contemporary Art of the University of São Paulo, at the Casa de Cultura
1992 - Rio de Janeiro RJ - 1st On the Way to Niterói: João Sattamini Collection, at the Paço Imperial
1992 - Rio de Janeiro RJ - Nature: four centuries of art in Brazil, at the CCBB
1992 - São Paulo SP - Sérgio's View of Brazilian Art: drawings and paintings, at the Mário de Andrade Municipal Library
1992 - São Paulo SP - First Anniversary of the Grifo Art Gallery, at the Grifo Art Gallery
1992 - Seville (Spain) - Latin American Artists of the Twentieth Century, at the Plaza de Armas Station
1992 - Zurich (Switzerland) - Brasilien: entdeckung und self-deckung, at the Kunsthaus Zürich
1993 - Cologne (Germany) - Latin American Artists of the Twentieth Century, at the Kunsthalle Cologne
1993 - New York (United States) - Latin American Artists of the Twentieth Century, at the MoMA
1993 - Rio de Janeiro RJ - Brazil, 100 Years of Modern Art, at the MNBA
1993 - Rio de Janeiro RJ - Emblems of the Body: the nude in modern Brazilian art, at the CCBB
1993 - São Paulo SP - 100 Masterpieces from the Mário de Andrade Collection: painting and sculpture, at the IEB/USP
1993 - São Paulo SP - Brazilian Art in the World, A Trajectory: 24 Brazilian artists, at the Dan Galeria
1993 - São Paulo SP - The Italian Perspective on São Paulo, at the State Art Gallery
1993 - São Paulo SP - Representation: decisive presences, at the Paço das Artes
1993 - São Paulo SP - Volpi: projects and studies, in retrospect: the 1940s-1970s, at the State Art Gallery
1994 - São Paulo SP - 20th Century Brazil Biennial, at the Biennial Foundation
1995 - Brasília DF - Brasília Collections, at the Ministry of Foreign Affairs. Itamaraty Palace
1995 - São Paulo SP - The Santa Helena Group, at MAM/SP
1996 - Barra Mansa RJ - 12 Names of Brazilian Painting, at the Barra Mansa University Center
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - Osasco SP - FIEO Expo: donation by Luiz Ernesto Kawall, at the Fieo University Center
1996 - Rio de Janeiro RJ - The Santa Helena Group, at CCBB
1996 - São Paulo SP - Brazilian Art: 50 years of history in the MAC/USP collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Desexp(l)os(ign)ição, at Casa das Rosas
1996 - São Paulo SP - Figure and Landscape in the MAM Collection: tribute to Volpi, at MAM/SP
1996 - São Paulo SP - Guignard/Volpi: birth centenary, at IEB/USP
1996 - São Paulo SP - The World of Mario Schenberg, at Casa das Rosas
1996 - São Paulo SP - Volpi 100 Years, at Galeria Grossman
1996 - São Paulo SP - Volpi in the MAC Collection, at MAC/USP
1997 - Brasília, DF - Poets of Space and Color, at the Brasília Art Museum
1997 - Porto Alegre, RS - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1997 - Porto Alegre, RS - Parallel Exhibition, at the Caixa Econômica Federal Museum
1997 - Rio de Janeiro, RJ - Poets of Space and Color, at MAM/RJ
1997 - São Paulo, SP - Anthropophagic Appropriations, at Itaú Cultural
1997 - São Paulo, SP - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1997 - São Paulo, SP - Great Names of Brazilian Painting, at the Jo Slaviero Art Gallery
1997 - São Paulo, SP - Poets of Space and Color, at Masp
1998 - Brasília, DF - Brazilian like neither I, nor Whom?, at the Ministry of Foreign Relations
1998 - Curitiba PR - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1998 - Rio de Janeiro RJ - Brazilian Art in the Collection of the Museum of Modern Art of São Paulo: recent donations 1996-1998, at the CCBB
1998 - Rio de Janeiro RJ - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1998 - São Paulo SP - 24th São Paulo International Biennial, at the Bienal Foundation
1998 - São Paulo SP - The Art of Exhibiting Art, at MAM/SP
1998 - São Paulo SP - Constructive Art in Brazil: Adolpho Leirner Collection, at MAM/SP
1998 - São Paulo SP - MAM Bahia Collection: paintings, at MAM/SP
1998 - São Paulo SP - Paulistana Iconography in Private Collections, at the Museum of Casa Brasileira
1998 - São Paulo SP - Impressions: the art of Brazilian engraving, at the Banespa-Paulista Cultural Space
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1998 - São Paulo SP - Theory of Values, at MAM/SP
1999 - Niterói RJ - Rio Engraving Exhibition: Banerj Collection, at the Ingá Museum
1999 - Rio de Janeiro RJ - Constructive Art in Brazil: Adolpho Leirner Collection, at MAM/RJ
1999 - Rio de Janeiro RJ - Volpi and Sued, at the Ipanema Art Gallery
1999 - Salvador BA - 60 Years of Brazilian Art, at the Caixa Cultural Space Federal Economic Institute
1999 - São Paulo SP - 26th Panorama of Brazilian Art, at MAM/SP
1999 - São Paulo SP - The Female Figure in the MAB Collection, at MAB/Faap
1999 - São Paulo SP - Brazilian Art, 20th Century: Dialogues with Dufy, at MAM/SP
1999 - São Paulo SP - Brazilian Like Neither Me, Like Neither Who?, at MAB/Faap
1999 - São Paulo SP - Everyday Life/Art. Consumption, at Itaú Cultural
1999 - São Paulo SP - Brazil in the Century of Art, at the Sesi Art Gallery
1999 - São Paulo SP - Italians and Brazilians in Art Between the Wars, at the State Art Gallery
1999 - São Paulo SP - Volpi: selected works, 1940s, 1950s, 1960s, 1970s, and 1980s, at the Sylvio Nery da Fonseca Art Office
2000 - Belo Horizonte MG - Ars Brasilis, at the Minas Tênis Clube Art Gallery
2000 - Brasília DF - Brazil-Europe Exhibition: Encounters in the 20th Century, at the Caixa Cultural Complex
2000 - Fortaleza CE - 26th Panorama of Brazilian Art, at the Dragão do Mar Center for Art and Culture
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at the José de Azeredo Perdigão Center for Modern Art 2000 - Niterói, RJ - 26th Panorama of Brazilian Art, at MAC/Niterói 2000 - São Paulo - The Female Figure in the MAB Collection, at MAB/Faap 2000 - São Paulo, SP - 7th Art and Antiques Salon, at Galeria A Hebraica 2000 - São Paulo, SP - Brazil + 500 Rediscovery Exhibition, at the Biennial Foundation 2000 - São Paulo, SP - Brazil on Paper: Nuances and Experiences, at the Unicid Arts Space 2000 - São Paulo, SP - Santa Helena Group, at the Jo Slaviero Art Gallery 2000 - São Paulo, SP - The Angels Are Back, at the Pinacoteca of the State
2000 - Valencia (Spain) - From Anthropophagy to Brasilia: Brazil 1920-1950, at IVAM. Julio Gonzáles Center 2001 - New York (United States) - Brazil: Body and Soul, at the Solomon R. Guggenheim Museum 2001 - Porto Alegre, RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at Margs 2001 - Rio de Janeiro, RJ - Carioca Art Collection, at the Ipanema Art Gallery 2001 - São Paulo, SP - 4 Decades, at the Nova André Gallery 2001 - São Paulo, SP - Color in Brazilian Art, at MAM/SP 2001 - São Paulo, SP - Aldo Franco Collection, at the Pinacoteca do Estado 2001 - São Paulo, SP - Museum of Brazilian Art: 40 Years, at MAB/Faap 2001 - São Paulo, SP - Trajectory of Light in Brazilian Art, at Itaú Cultural 2001 - Uberlândia MG - Brazilian Prints from the MUnA Collection: 1960s, 1970s, and 1980s, at the University Museum of Art
2002 - Brasília DF - JK - An Aesthetic Adventure, at the Caixa Cultural Complex
2002 - Porto Alegre RS - Drawings, Prints, Sculptures, and Watercolors, at Garagem de Arte
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: from the restlessness of the modern to the autonomy of language, at the CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at the Paço Imperial
2002 - Rio de Janeiro RJ - Parallels: Brazilian art from the second half of the 20th century in context, Cisneros Collection, at MAM/RJ
2002 - São Paulo SP - 28 (+) Paintings, at Espaço Virgílio
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: from the restlessness of the modern to the autonomy of language, at the CCBB
2002 - São Paulo SP - Art and Politics, at the MAM/SP
2002 - São Paulo SP - From Anthropophagy to Brasília: Brazil 1920-1950, at the MAB/Faap
2002 - São Paulo SP - Wild Mirror: modern art in Brazil in the first half of the 20th century, Nemirovsky Collection, at the MAM/SP
2002 - São Paulo SP - Geometric and Kinetic, at the Raquel Arnaud Art Cabinet
2002 - São Paulo SP - Modernism: from the Week of 22 to the art section of Sérgio Milliet, at CCSP
2002 - São Paulo SP - Workers on Paulista Avenue: MAC-USP and artisan artists, at the Sesi Art Gallery
2002 - São Paulo SP - Parallels: Brazilian art from the second half of the 20th century in context, Cisneros Collection, at MAM/SP
2003 - Belém PA - 22nd Pará Art Salon, at the Pará Art Museum
2003 - Brasília DF - Brazilian Art in the Fadel Collection: from the restlessness of the modern to the autonomy of language, at CCBB
2003 - Buenos Aires (Argentina) - Geo-Metrias: Latin American geometric abstraction in the Cisneros Collection, at Malba
2003 - Mexico City (Mexico) - Cuasi Corpus: art Brazilian concrete and neoconcrete: a selection from the collection of the São Paulo Museum of Modern Art and the Adolpho Leirner Collection, at the Rufino Tamayo Museum. 2003 - Rio de Janeiro, RJ - Order vs. Freedom, at the MAM/RJ. 2003 - Rio de Janeiro, RJ - Treasures of the Caixa: Brazilian modern art in the Caixa collection, at the Caixa Cultural Complex. 2003 - São Paulo, SP - The Art Behind the Art: where works of art are and how they travel. 2003 - São Paulo, SP - Art and Society: a controversial relationship. 2003 - São Paulo, SP - MAC USP 40 Years: contemporary interfaces. 2003 - São Paulo, SP - Tomie Ohtake in the Spiritual Weave of Brazilian Art. 2003 - São Paulo, SP - Tomie Ohtake in the Spiritual Weave of Brazilian Art. Ohtake
2003 - São Paulo SP - One Heart, at MAM/SP
2004 - Rio de Janeiro RJ - Tomie Ohtake in the Spiritual Weave of Brazilian Art, at MNBA
2004 - São Paulo SP - Paper Cabinet, at CCSP
2004 - São Paulo SP - Masters of Modernism, at Estação Pinacoteca
2005 - Rio de Janeiro RJ - Soto: the construction of immateriality, at CCBB