Anna Maria Maiolino

Anna Maria Maiolino (Scalea, Italy 1942)

Anna Maria Maiolino is an engraver, painter, sculptor, multimedia artist, and illustrator. In 1954, she moved to Caracas, Venezuela, due to the post-war shortages. Between 1958 and 1960, she studied at the Escuela de Artes Plásticas Cristóbal Rojas and, in 1960, moved to Brazil. The following year, she began a woodcut course at the National School of Fine Arts (ENBA) in Rio de Janeiro, joining the New Figuration movement, which emerged as a reaction to abstraction and reflected a stance on the Brazilian political context.

In 1963, she attended Ivan Serpa's studio at the Museum of Modern Art in Rio de Janeiro (MAM/RJ) and studied printmaking with Adir Botelho. The following year, she held her first solo exhibition at Galeria G in Caracas. In 1967, she participated in the exhibition "New Brazilian Objectivity," organized by critics and artists such as Hélio Oiticica, which proposed, among other principles, the overcoming of the easel painting in favor of the artistic object.

Between 1968 and 1971, she studied at the Pratt Graphic Center in New York. From the 1970s onward, she began working with different media, such as installation, photography, and film. She participated in the 1st Super-8 Film Festival in Curitiba, winning an award for the film "In-Out, Anthropophagy," her first video work. She also participated in the International Super-8 Film Festival at Space Cardin in Paris; the 5th Brazilian Short Film Conference in Salvador; and the 2nd National Short Film Festival, at the Alliance Française du Brésil, in Rio de Janeiro.

In the late 1970s, she began to dedicate herself to performances. In 1978, she created "Mitos Vadios" (Vague Myths) on a vacant lot on Rua Augusta in São Paulo, and in 1981, she presented "Entrevidas" (Entrevidas) on Rua Cardoso Júnior, where dozens of chicken eggs are scattered on the ground, creating a challenging path for the audience. In the 1980s, she began working with clay, influenced by Argentine artist Victor Grippo.

In 1990, she received the award for best exhibition of the year from the Brazilian Association of Art Critics (ABCA) for her solo exhibition held in 1989 at the Cândido Mendes Cultural Center. In 2002, she presented a retrospective exhibition in New York, accompanied by the launch of the book "A Life Line/Vida Afora" (Life Away).

Critical Commentary

Despite her Italian origins, Anna Maria Maiolino's artistic training is Latin American. She began her art studies at an early age at the Escuela de Artes Plásticas Cristóbal Rojas in Caracas, Venezuela, in 1958. She moved to Rio de Janeiro in 1960 and attended the painting and printmaking workshops at the National School of Fine Arts (ENBA). In the 1960s, the artist focused on woodcuts, alongside her object production. Landscapes and interior scenes, large white areas demarcated by softly outlined black figures, give way to colorful figuration with a narrative nature, featuring urban themes and/or themes related to everyday life and the condition of women. Maiolino became one of the key figures in the exhibition "New Brazilian Objectivity," held at the Museum of Modern Art in Rio de Janeiro (MAM/RJ) in 1967. Her approach to popular culture came through her interest in engraving cordel pamphlets, combining her graphic style with current social and political themes.

She moved to the United States in 1968, where she remained for about three years. The artist turned to experimental poetry, which quickly led her to drawing. She began a significant production of drawings,1 which continues to this day. Her focus is the investigation of the materiality of paper and the limits of its spatiality. The figure leaves the scene and gives way to new elements, such as cuts, folds, thread stitching, written words, engraved incisions, etc. The page is explored in its sensitive existence in space, sometimes being worked on both sides. Series such as Mapas Mentais (1971) and the object-drawings Buracos Negros (ca. 1974), in which the personal and political planes merge, date from this phase.

But the 1970s challenged Anna Maria Maiolino to experiment with other forms of expression, and she created films and installations. Under the dictatorship, she produced the Super 8 In-Out Antropofagia (1974) and the installations Feijão com Arroz (1979)2 and Entrevidas (1981).

In the following decade, the artist also returned to painting. And in a way, she announced her concern with gestures and the relationship with matter, present in the sculptural wall objects and reliefs (in clay, plaster, and cement) of the early 1990s. Little by little, Maiolino focused on the manual aspect of artistic creation and began to use clay almost exclusively. She creates projects with a large quantity of this material, in which the repetition of gestures and their recording in the material signal an enormous concentration of energy. Installations such as Muitos (1995) or São Estes (1998) place the body at the center of the artwork, while simultaneously transforming the forgotten gesture of everyday life into a reservoir of experience.

Notes
1 Drawing remains a central vein of Anna Maria Maiolino's production to this day. In 2002, the artist had a retrospective of her works on paper at The Drawing Center in New York. The exhibition Anna Maria Maiolino: A Life Line/ Vida Afora, curated by the institution's director Catherine de Zegher, spanned nearly 35 years of her career, in recognition of the importance of her contribution to the expansion and updating of this technique.
2 The installation was recently reassembled in the Atelier Finep program at Paço Imperial in Rio de Janeiro.

Critiques

"(...) if the figuration of the first phase became disciplined, progressively contained and outdated, and if the pop influence of the late 1960s gradually moved towards the conceptual realm, the artist's interest in locating herself in a space remained. Between autobiographical investigation and the awareness of being collectively in the world, occupying space and enduring in time, she increasingly began to express herself through maps. These maps, both visual and verbal, record her paths and the accidents accumulated along the way. The paintings on surfaces, whether flat or in three-dimensional montages, of the early days, were replaced by drawings and engravings, and the artist also dedicated herself to the more recent production of audiovisuals and Super-8 films. In certain of these works, the geographic regions appear clearly and constitute moments of the artist's autobiography (...). In others, especially from the later phases, there are only indications of the landscape, analogies of sky, sea, land, or appropriations of materials from the concrete world - stones, for example. Little by little, even the residue of evidence of the external landscape is lost, in exchange for an intimate geography, psychological maps. (...)".
Roberto Pontual
PONTUAL, Roberto. Contemporary Brazilian Art: Gilberto Chateaubriand Collection. Rio de Janeiro: Jornal do Brasil, 1976.

"Reliefs arise, in part, from this reconquest of the tactile—both for those who make them and for those who view them—which evolves from the relative coldness of cutting, folding, and sewing, which wound the smooth surface of paper, to the sensitive engagement of hands with clay, an almost archetypal relationship of human endeavor. Perhaps this is the source of the sense of timelessness experienced when viewing reliefs. The replacement of geometry, predominant in drawings and engravings of the 1970s, by the current primacy of tactile intuition certainly shifts the axis of work organization methods, which is visible in their quite diverse configurations. But tactile intuition does not imply a loss of rigor, since it is subordinate to the way the image is processed until its definitive form—molding.
The plastic intelligence indispensable to a creative process through molding, which produces inverted images—positive and negative—comes, in In this case, the artist's long experience in printmaking, whose methodological similarity to molding overdetermines the apparent differences between her graphic work and the reliefs. This discipline, which organizes the production method, is reinforced by the painting that intervenes, whether by introducing some geometric elements or combining with the plastic potential of the shadow projected by the irregular surface of the pieces, both within and outside their physical limits.
Fernando Cocchiarale
MAIOLINO, Anna Maria. Anna Maria Maiolino: reliefs. Rio de Janeiro: Centro Cultural Cândido Mendes, 1989

"It was precisely in the transition from painting to this hybrid form of relief—painting/sculpture—that Maiolino seems to have reached her maturity as an artist and her precise significance for contemporary Brazilian art.
There, she expands and imbues with new meanings and possibilities the recent local artistic tradition of operating between the boundaries of painting and sculpture, since in her reliefs the hybridization occurs not only in relation to the formal aspects involving painting and sculpture, but also to significant parts of the histories of these two artistic processes: created according to traditional modeling techniques and preserving in their processing traces of the ancestral history of sculpture (and even printmaking), these works equally contemplate the history of painting through their emphasis on the pictorial side constituting the relief, not only by maintaining its dependence on the wall but also by using pigments and textures very typical of the pictorial universe.
Another significant fact in this new phase is that, when those forms free themselves from the completely flat space of canvas and paper, they are reborn, tensioned not only between the painting and sculpture, but equally between the rectangle and the oval, the rational and the irrational, the objective and the subjective. These are forms that present themselves to the world as a specific place—a typical operation of modern art in general and Neoconcrete works in particular—and, at the same time, represent, remap an affective place, imbued with memory, the original ovum.
In them, the representations of tones, colors, and the Mediterranean topography of the artist's childhood are perceptible, in perfect balance with the presentation of each relief in itself, as the result of a set of motor and perceptive operations, forms of intense visual impact.
Tadeu Chiarelli
MAIOLINO, Anna Maria. Anna Maria Maiolino: one, none, one hundred thousand. São Paulo: Gabinete de Arte Raquel Arnaud, 1993.

"By opting for the thought of action, I discovered in Pirandello's phrase 'One, None, One Hundred Thousand' the meaning the artist sought to imprint on her work. Indeed, a unity that repeats itself, as if undoing the limits of singular differences and transforming itself, before less discerning eyes, into a uniform mass, which nullifies the specific contours of form. One that is one hundred thousand becomes none through a generalizing action of thought, which disconnects itself from the radical experience of reality, in which things pulsate in their uniqueness. When Maiolino emphasizes gesture, as the primary unit of the artist's action, what he is trying to say is that in the act of making simple forms like snakes and balls (early clay molding techniques) there is a retention, a mark, of individuality. What repeats itself, then, in the very act of making, beyond the snake and the ball yes, it is the uniqueness of a gesture that retains the singularity that produced it. What's more, each gesture has the limit of matter, and it is in the interplay between intention and materialization, between gesture and matter, that the singular contours of form are outlined. Therefore, each little snake or ball, in fact, is not the same as the other."
Márcio Doctors
MAIOLINO, Anna Maria. Anna Maria Maiolino: one, none, one hundred thousand. Rio de Janeiro: Centro Cultural Banco do Brasil, 1994.

Testimonials

"(...) in the '60s, the object was a desire to escape the dimension of the painting, of paper. . .

. . . but, I don't know why there's so much fuss about it; I think there was actually a fuss as serious objects began to be created. . . then, it was more of a market move than an artist's need. . . with the way to multiply the object for a greater number of buyers; (...) in fact, a new audience emerged to consume art. . . and the thing had to be relatively cheap, because it wouldn't be possible at the collector's level, as was usual, right? - I think that was the death of the object, the moment when objects began to be created in series, the object lost all that initial strength with which the work began in 64/65 (...)

(...) I think the object was spontaneous, (...) but, really, At the time, there was a desire, an effervescence, which, in fact, the whole country was experiencing, (...) artists were seeking each other out, they weren't isolated (...)

(...) I began working with collages, paintings (...) and, in this painting, which was also of a couple in love, at the wedding, I put the bride's veil, really the veil... there was a mocking atmosphere (...) I put the veil stuck with glue, there were paintings and collages (...)".
Anna Maria Maiolino, 1974
MAIOLINO, Anna Maria. Artist's statement to the Department of Research and Documentation of Brazilian Art at FAAP. Rio de Janeiro, September 8, 1977. In: ALVARADO, Daisy Valle Machado Peccinini de (coord.). Object in art: Brazil in the 1960s. São Paulo: FAAP, 1978. p. 176

Solo Exhibitions

1964 - Caracas (Venezuela) - First solo exhibition, at Galeria G
1967 - Rio de Janeiro RJ - Solo exhibition, at Galeria Goeldi
1973 - Rio de Janeiro RJ - Lugares e Memória, at Galeria Grupo B
1974 - São Paulo SP - Solo exhibition, at Galeria Arte Global
1976 - Rio de Janeiro RJ - Aos Poucos, at Petite Galerie
1979 - Rio de Janeiro RJ - Feijão com Arroz, at Galeria Aliança Francesa
1980 - João Pessoa PB - Feijão com Arroz, at Núcleo de Arte Contemporânea da UFPB
1980 - Rio de Janeiro RJ - Feijão com Arroz, at Centro Cultural Candido Mendes
1981 - São Paulo SP - Anna Maria Maiolino: desenhos, at Escritório Brasileiro de Artes
1982 - Rome (Italy) - Solo exhibition, at Galeria d'Arte della Casa do Brasil
1983 - Rio de Janeiro RJ - Solo exhibition, at Galeria Matias Marcier
1984 - São Paulo SP - Anna Maria Maiolino: desenhos, at Arco Arte Contemporânea Galeria Bruno Musatti
1987 - Rio de Janeiro RJ - Solo exhibition, at Galeria Paulo Klabin
1989 - Rio de Janeiro RJ - Solo exhibition, at Centro Cultural Candido Mendes - Mário Pedrosa Prize, Best Exhibition by ABCA in 1990
1991 - Belém PA - Solo exhibition, at Fundação Romulo Maiorana
1991 - Brasília DF - Solo exhibition, at Performance Galeria de Arte
1991 - Niterói RJ - Solo exhibition, at Museu do Ingá
1991 - Rio de Janeiro RJ - Entrevidas, at Instituto Brasil-Estados Unidos
1991 - Rio de Janeiro RJ - Solo exhibition, at Galeria Anna Maria Niemeyer
1991 - São Paulo SP - De Vita Migrare, Anno MCMXCI - installation, at Fundação Bienal
1991 - Uberlândia MG - Solo exhibition, at Galeria de Arte e Acervo da UFU
1993 - São Paulo SP - Um, Nenhum, Cem Mil, at Gabinete de Arte Raquel Arnaud - APCA Prize for Research in Language / Best of 1993
1994 - Rio de Janeiro RJ - Um, Nenhum, Cem Mil, at CCBB
1995 - Paris (France) - Solo exhibition, at Galerie Debret
1995 - Piracicaba SP - Solo exhibition, at Casa das Artes Plásticas "Miguel Dutra"
1997 - Rio de Janeiro RJ - Anna Maria Maiolino, at Joel Edelstein Arte Contemporânea
1997 - Rio de Janeiro RJ - Installation and Drawings, at Galerias Sérgio Milliet and Lygia Clark, Funarte
1998 - São Paulo SP - São Estes - installation, at Gabinete de Arte Raquel Arnaud
1999 - Belo Horizonte MG - Codificações Matéricas, at Celma Albuquerque Galeria de Arte
1999 - São Paulo SP - + & -, at Gabinete de Arte Raquel Arnaud
2000 - New York (United States) - Solo exhibition, at Art in General Gallery
2002 - New York (United States) - A Life Line / Vida Afora, at Drawing Center
2002 - New York (United States) - N Times One, at Art in General
2003 - Rio de Janeiro RJ - Arroz & Feijão, at Paço Imperial
2003 - São Paulo SP - Vestígios, Indícios e Outros, at Gabinete de Arte Raquel Arnaud
2004 - Rio de Janeiro RJ - Segmentos, at Mercedes Viegas Escritório de Arte
2004 - São Paulo SP - Conversa Contemporânea, at Gabinete de Arte Raquel Arnaud

Group Exhibitions

1958 - Caracas (Venezuela) - 2nd Young Painters Salon
1959 - Caracas (Venezuela) - 3rd Young Painters Salon
1960 - Caracas (Venezuela) - 4th Young Painters Salon
1961 - Caracas (Venezuela) - 21st Official Salon of Venezuelan Art
1963 - Curitiba PR - 20th Paraná Fine Arts Salon, at the Public Library of Paraná - acquisition prize
1965 - Rio de Janeiro RJ - 14th National Salon of Modern Art, at MAM/RJ
1966 - Brasília DF - 3rd Modern Art Salon of the Federal District - special jury mention - printmaking
1966 - Rio de Janeiro RJ - Opinião 66, at MAM/RJ
1966 - Salvador BA - 1st National Biennial of Visual Arts
1966 - São Paulo SP - 2nd Young National Printmaking Exhibition, at MAC/USP
1967 - Belgrade (Yugoslavia) - Contemporary Brazilian Prints, at Doma Omladine Gallery
1967 - Brasília DF - 4th Modern Art Salon of the Federal District, at Teatro Nacional Cláudio Santoro
1967 - Campinas SP - 3rd Contemporary Art Salon, at José Pancetti Museum of Contemporary Art - city prize
1967 - Rio de Janeiro RJ - New Brazilian Objectivity, at MAM/RJ
1967 - São Paulo SP - 9th São Paulo International Biennial, at Fundação Bienal
1968 - Brasília DF - 4th Visual Arts Salon, at Modern Art Salon of the Federal District
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, at MAM/RJ
1968 - Rio de Janeiro RJ - 2nd Esso Salon of Young Artists, at MAM/RJ
1968 - Rio de Janeiro RJ - Flags in the Square, at Praça General Osório
1968 - São Paulo SP - 2nd Young Contemporary Art, at MAC/USP - acquisition prize
1969 - Porto Alegre RS - 2nd Young Contemporary Art, at MARGS - acquisition prize
1972 - Rio de Janeiro RJ - 21st National Salon of Modern Art, at Ministry of Education and Culture
1972 - San Juan (Puerto Rico) - 2nd San Juan Biennial of Latin American and Caribbean Printmaking, at Instituto de Cultura Puertorriqueña
1973 - Belo Horizonte MG - 5th National Salon of Contemporary Art, at Pampulha Museum of Art - acquisition prize
1973 - Grenchen (Switzerland) - Grenchen Triennial
1973 - Niterói RJ - 2nd Visual Arts Exhibition of the State of Rio de Janeiro - Guignard/acquisition prize
1973 - New York (United States) - Art at Carnival, at MoMA
1973 - Paris (France) - Youth Biennial, at Musée d'Art Moderne de la Ville de Paris
1973 - Rio de Janeiro RJ - 22nd National Salon of Modern Art, at Ministry of Education and Culture
1973 - Rio de Janeiro RJ - Inquiry into Nature: Meaning and Function of the Work of Art, at Ibeu Copacabana Gallery
1973 - São Paulo SP - 12th São Paulo International Biennial, at Fundação Bienal
1973 - São Paulo SP - Expo-Projeção 73, at Espaço Grife
1973 - Buenos Aires (Argentina) - Expo-Projeção 73, at Centro de Arte y Comunicación - CAYC
1974 - Campinas SP - 9th Contemporary Art Salon of Campinas, at José Pancetti Museum of Contemporary Art - invited artist
1974 - São Paulo SP - 6th Panorama of Contemporary Brazilian Art, at MAM/SP
1975 - Rio de Janeiro RJ - Communication according to Visual Artists, at Rede Globo
1975 - Rio de Janeiro RJ - Experimental Art Exhibition of Super-8 Films, Audiovisual and Videotape, at Maison de France Gallery
1976 - Salvador BA - Brazilian Art of the 60s/70s in the Gilberto Chateaubriand Collection, at MAM/BA
1977 - Brasília DF - Brazilian Art of the 60s/70s in the Gilberto Chateaubriand Collection, at Fundação Cultural do Distrito Federal
1977 - Madrid (Spain) - Contemporary Ibero-American Art, at Instituto de Cultura Hispánica
1977 - Recife PE - Brazilian Art, 60s/70s in the Gilberto Chateaubriand Collection, at Casarão João Alfredo
1978 - São Paulo SP - Object in Art: Brazil, 1960s, at MAB/Faap
1978 - São Paulo SP - Wandering Myths, at Rua Augusta Parking Lot
1979 - New York (United States) - Contemporary Brazilian Works on Paper: 49 artists, at Nobé Gallery
1979 - Rio de Janeiro RJ - 2nd National Visual Arts Salon, at MAM/RJ
1980 - Brasília DF - Awarded Artists of the 3rd National Visual Arts Salon, at Oswaldo Goeldi Gallery/Funarte - acquisition prize/drawing
1980 - Belo Horizonte MG - Awarded Artists of the 3rd National Visual Arts Salon, at Palácio das Artes - acquisition prize/drawing
1980 - Curitiba PR - Awarded Artists of the 3rd National Visual Arts Salon - acquisition prize/drawing
1980 - Porto Alegre RS - Awarded Artists of the 3rd National Visual Arts Salon, at MARGS - acquisition prize/drawing
1980 - Recife PE - Awarded Artists of the 3rd National Visual Arts Salon, at Massangana Gallery - acquisition prize/drawing
1980 - Rio de Janeiro RJ - 3rd National Visual Arts Salon, at MNBA
1980 - Salvador BA - Awarded Artists of the 3rd National Visual Arts Salon, at MAM/BA - acquisition prize/drawing
1980 - São Paulo SP - Awarded Artists of the 3rd National Visual Arts Salon, at MASP - acquisition prize/drawing
1981 - Rio de Janeiro RJ - 4th National Visual Arts Salon, at MAM/RJ
1981 - São Paulo SP - 2nd São Paulo Salon of Visual Arts, at Paço das Artes
1981 - São Paulo SP - HMST: 4 installations and 4 artists, at Paço das Artes
1981 - Wroclaw (Poland) - 2nd International Drawing Triennial
1983 - Valparaíso (Chile) - 6th Valparaíso Biennial
1984 - Curitiba PR - 6th Woodcut in the History of Brazilian Art, at Casa Romário Martins
1984 - Curitiba PR - 6th Curitiba City Print Exhibition, at Curitiba Cultural Foundation
1984 - Havana (Cuba) - 1st Havana Biennial, at Museo Nacional de Bellas Artes
1984 - Rio de Janeiro RJ - Woodcut in the History of Brazilian Art, at Funarte, Sérgio Milliet Gallery
1985 - São Paulo SP - Highlights of Contemporary Brazilian Art, at MAM/SP
1986 - Rio de Janeiro RJ - Seven Decades of Italian Presence in Brazilian Art, at Paço Imperial
1987 - Rio de Janeiro RJ - To the Collector: homage to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro RJ - New Figuration Rio/Buenos Aires, at Brazil-Argentina Cultural Institute Gallery
1987 - Wroclaw (Poland) - 4th International Drawing Triennial
1988 - New York (United States) - Brazil: a group exhibition of contemporary painting and sculpture, at Sergio Tissenbaum and ISD Inc.
1988 - São Paulo SP - 63/66 Figure and Object, at Millan Gallery
1989 - Rio de Janeiro RJ - Rio Today, at MAM/RJ
1990 - São Paulo SP - People of Fiber, at Sesc Pompéia
1991 - Rio de Janeiro RJ - Painting of the 60s-70s: Gilberto Chateaubriand Collection, at MAM/RJ
1991 - São Paulo SP - 21st São Paulo International Biennial, at Fundação Bienal
1991 - São Paulo SP - The Classical in the Contemporary, at Paço das Artes
1991 - São Paulo SP - What Moves You Now Generation 60?: revisiting young contemporary art of the 60s, at MAC/USP
1992 - Antwerp (Belgium) - America - Bridge of the Sun: 500 Years Latin America and the Low Countries, at The Royal Museum of Fine Arts
1992 - Curitiba PR - 10th Curitiba City Print Exhibition/America Show, at Print Museum
1992 - Rio de Janeiro RJ - Art Printmaking in Brazil: proposal for mapping, at CCBB
1992 - Santo André SP - Lithography: methods and concepts, at Paço Municipal
1992 - São Paulo SP - 60s/70s: Gilberto Chateaubriand Collection/MAM-RJ, at Sesi Art Gallery
1993 - Belém PA - 12th Arte Pará Salon, at Romulo Maiorana Foundation
1993 - Florence (Italy) - Brazil: Segni d'Art, at Biblioteca Nationale Centrale di Firenze
1993 - João Pessoa PB - Woodcut: from cordel to gallery, at Espaço Cultural da Paraíba Foundation
1993 - Milan (Italy) - Brazil: Segni d'Arte, at Biblioteca Nazionale Braidense
1993 - Rome (Italy) - Brazil: Segni d'Arte, at Brazilian Studies Center
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Sesi Art Gallery
1993 - Venice (Italy) - Brazil: Segni d'Arte, at Fondazione Scientífica Querini Stampalia
1994 - Atlanta (United States) - Multiple Word: an international survey of artists’ books, at The Atlanta College of Art Gallery
1994 - Frankfurt (Germany) - The Thickness of the Sign: contemporary Brazilian drawing, at Karmeliter Kloster
1994 - Rio de Janeiro RJ - Artist’s Book: the frontier of voids, at CCBB
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Black on White and/or…: drawings, at EAV/Parque Lage
1994 - São Paulo SP - 20th Century Brazil Biennial, at Fundação Bienal
1994 - São Paulo SP - Poetics of Resistance: aspects of Brazilian printmaking, at Sesi Art Gallery
1994 - São Paulo SP - Woodcut: from cordel to gallery, at Companhia do Metropolitano de São Paulo
1994 - São Paulo SP - Woodcut: from cordel to gallery, at MASP
1994 - São Paulo SP - Poetics of Resistance: aspects of Brazilian printmaking, at Sesi Art Gallery
1995 - Caracas (Venezuela) - 2nd Barro de América Biennial, at Museo de Arte Contemporáneo de Caracas Sofía Imber
1995 - Rio de Janeiro RJ - Homage to Women in the Arts: three generations of women artists, at Museu da República
1995 - Santos SP - 5th Santos National Biennial, at Patrícia Galvão Cultural Center
1995 - São Paulo SP - Artist’s Book: the frontier of voids, at MAM/SP
1995 - Maracaibo (Venezuela) - 2nd Barro de América Biennial, at Maracaibo Museum of Art Li Bermúdez
1996 - Belo Horizonte MG - Itinerant Prints, at Palácio das Artes
1996 - Boston (United States) - Inside the Visible, at Institute of Contemporary Art
1996 - Boston (United States) - Inside the Visible, at National Museum of Women in the Arts
1996 - Kortrijk (Belgium) - Inside the Visible, at Kanaal Art Foundation
1996 - London (England) - Inside the Visible, at Whitechapel Art Gallery
1996 - Perth (Australia) - Inside the Visible, at Art Gallery of Western Australia
1996 - São Paulo SP - 15 Brazilian Artists, at MAM/SP
1996 - São Paulo SP - Women Artists in the MAC/USP Collection, at MAC/USP
1996 - Washington D.C. (United States) - Inside the Visible, at The National Museum of Women in the Arts
1996 - Kortrijk (Belgium) - Inside the Visible, at Kanaal Foundation
1997 - Curitiba PR - Contemporary Printmaking Art, at Metropolitan Museum of Art of Curitiba
1997 - New York (United States) - Re-Aligning Visions: alternative currents in South American drawing, at El Museo del Barrio
1997 - Rio de Janeiro RJ - 15 Brazilian Artists, at MAM/RJ
1997 - San Diego (United States) - In Site 97
1997 - Tijuana (Mexico) - In Site 97
1997 - Little Rock (United States) - Re-Aligning Visions: alternative currents in South American drawing, at Arkansas Art Center

1998 - Austin (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at Archer M. Huntington Art Gallery
1998 - Caracas (Venezuela) - Re-Aligning Visions: Alternative Currents in South American Drawing, at Museo de Bellas Artes
1998 - Monterrey (Mexico) - Re-Aligning Visions: Alternative Currents in South American Drawing, at Museo de Arte Contemporáneo
1998 - Rio de Janeiro RJ - Anos 60/70: Coleção Gilberto Chateaubriand, at MAM/RJ
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - Formas Transitivas: Brazilian Art, Construction and Invention 1970/1998, at Gabinete de Arte Raquel Arnaud
1998 - São Paulo SP - O Moderno e o Contemporâneo na Arte Brasileira: Coleção Gilberto Chateaubriand - MAM/RJ, at MASP
1999 - Miami (United States) - Re-Aligning Visions: Alternative Currents in South American Drawing, at Miami Art Museum
1999 - New York (United States) - The Third Eye, at Art in General Gallery
1999 - Rio de Janeiro RJ - Contemporary Impressions, at Paço Imperial
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Modern Brazilian Printmaking: from the collection of the Museu Nacional de Belas Artes, at MNBA
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Contemporary Impressions, at Paço Imperial
1999 - São Paulo SP - Lithography: Fidelity and Memory, at Espaço de Artes Unicid
1999 - Vila Nova de Cerveira (Portugal) - 10th Bienal de Cerveira
2000 - Prague (Czech Republic) - Beyond Preconceptions: The Sixties Experiment, at National Gallery
2000 - Rio de Janeiro RJ - Situações: Brazilian Art in the 1970s, at Fundação Casa França-Brasil
2000 - São Paulo SP - Pirelli Collection at MAM: Brazilian Art in the 1960s, at MAM/SP
2000 - São Paulo SP - Exhibition, at Brito Cimino Arte Contemporânea e Moderna
2000 - Warsaw (Poland) - Beyond Preconceptions: The Sixties Experiment
2001 - Buenos Aires (Argentina) - Beyond Preconceptions: The Sixties Experiment, at Museo de Arte Moderno de Buenos Aires
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at MARGS
2001 - Rio de Janeiro - Beyond Preconceptions: The Sixties Experiment, at Paço Imperial
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2001 - São Paulo SP - Beyond Preconceptions: The Sixties Experiment, at MAB/FAAP
2001 - Washington D.C. (United States) - Virgin Territory: Women, Gender, and History in Contemporary Brazilian Art, at The National Museum of Women in the Arts
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Between Word and Image: Module 1, at Sala MAM-Cittá América
2002 - Rio de Janeiro RJ - Genealogy of Space, at Galeria do Parque das Ruínas
2002 - Rio de Janeiro RJ - Selection from the UCAM Art Collection, at Centro Cultural Candido Mendes
2002 - São Paulo SP - 12 Sculptures, at Galpão de Design
2002 - São Paulo SP - Form and Technical Image in Rio de Janeiro Art: 1950-1975, at Paço das Artes
2002 - São Paulo SP - Beyond Preconceptions: The Sixties Experiment, at MAM/SP
2002 - São Paulo SP - Paralela, at Galpão located at Avenida Matarazzo, 530, São Paulo - Exhibition conceived and organized jointly by Fortes Vilaça, Luisa Strina, Casa Triângulo, and Brito Cimino galleries.
2003 - Iowa City (United States) - Layers of Brazilian Art, at Faulconer Gallery
2003 - Madrid (Spain) - ARCO/2003, at Parque Ferial Juan Carlos I
2003 - Rio de Janeiro RJ - Twenty-Five Years: Galeria de Arte Cândido Mendes, at Galeria Candido Mendes
2003 - São Paulo SP - The Subversion of Means, at Itaú Cultural
2003 - São Paulo SP - ARCO 2003, at Gabinete de Arte Raquel Arnaud
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2004 - Rio de Janeiro RJ - 30 Artists, at Mercedes Viegas Escritório de Arte
2004 - São Paulo SP - New Acquisitions: 1995 - 2003, at MAB/FAAP
2004 - São Paulo SP - Contemporary Art: An Open History, at Gabinete de Arte Raquel Arnaud
2005 - Rio de Janeiro RJ - 10 Indicate 10, at CCCM
2005 - Rio de Janeiro RJ - Collective 2005, at Mercedes Viegas Escritório de Arte