Lygia Clark

Lygia Clark (Belo Horizonte MG 1920 – Rio de Janeiro RJ 1988)

Lygia Clark was a painter and sculptor. Born in Belo Horizonte in 1920, she moved to Rio de Janeiro in 1947, where she began her artistic training under Burle Marx. Between 1950 and 1952, she lived in Paris, studying with Fernand Léger, Arpad Szenes, and Isaac Dobrinsky. Upon returning to Brazil, she joined Grupo Frente, led by Ivan Serpa, and became one of the founders of the Grupo Neoconcreto, participating in the group’s first exhibition in 1959.

Throughout her career, she gradually shifted from painting to experimenting with three-dimensional objects. In 1960, she created the series Bichos, composed of geometric metal structures articulated with hinges, requiring the active participation of the viewer. That same year, she taught visual arts at the Instituto Nacional de Educação dos Surdos. Her work began to explore sensory experiences, as in the piece A Casa É o Corpo (1968).

She took part in major exhibitions such as Opinião 66 and Nova Objetividade Brasileira, both held at the Museum of Modern Art of Rio de Janeiro (MAM/RJ). From 1970 to 1976, she lived in Paris, teaching at the Faculté d’Arts Plastiques St. Charles at the Sorbonne. During this period, she moved away from creating aesthetic objects and began developing bodily experiences using simple materials, proposing sensory interactions between participants.

Upon her return to Brazil in 1976, she devoted herself to studying the therapeutic possibilities of sensory art and the so-called relational objects. By the end of her life, she considered her practice closer to psychoanalysis than to traditional art. From the 1980s onward, her work received wide international recognition, with retrospectives held in major cities and inclusion in landmark exhibitions of postwar international art.

Critical Commentary

Lygia Clark works with installations and body art. In 1954, she began incorporating the frame as a plastic element in her works, as seen in Composição nº 5. Her research focused on the organic line, which emerges at the junction between two planes, such as between the canvas and its frame. Between 1957 and 1959, she produced black-and-white compositions made of juxtaposed wooden panels coated with industrial paint applied with a spray gun, in which the organic line becomes prominent or disappears depending on the colors used. According to art researcher Maria Alice Milliet, among artists associated with Concretism, Lygia Clark was the one who best understood the spatial relationships of the plane. Her radical exploration of the expressive potential of planes led her to unfold them, as in Casulos (1959), composed of metal panels fixed to the wall and folded to create an internal space. That same year, she participated in the 1st Neo-Concrete Exhibition. Neo-Concretism was defined as a response to the overly rationalist approach of Concrete Art and consisted of artists aiming to continue experimenting, seeking their own solutions while integrating artist, artwork, and viewer. In 1960, she began the Bichos, works made of polished metal panels joined by hinges, allowing articulation. These works were innovative: they encouraged viewer interaction, which, combined with the dynamic nature of the pieces, generated new configurations.

In 1963, she started producing the Trepantes, created from spiraled cuts in metal or rubber, as in Obra-Mole (1964), which, due to their flexibility, could rest on various temporary supports, such as tree trunks or ladders. Her concern shifted toward fostering even more active audience participation. Caminhando (1964) marks this transition. The participant creates a Möbius strip [August Ferdinand Möbius (1790–1868), German mathematician]: a strip of paper is cut, one end twisted, and the two ends joined. It is then continuously cut along its length, gradually unfolding into increasingly narrow and complex intertwinings. The participant experiences a space without front or back, without inside or outside, simply for the pleasure of traversing it, thus actively completing the artwork. She then initiated body-centered works aimed at expanding perception, recalling memories, or evoking diverse emotions. In these, the artist functions as proposer or facilitator of experiences. For example, in Luvas Sensoriais (1968), touch is rediscovered through balls of various sizes, weights, and textures; and in O Eu e o Tu: Série Roupa-Corpo-Roupa (1967), a couple wears clothing designed by the artist, lined with diverse materials. Openings in the garments provide tactile experiences, giving men a sense of femininity and women a sense of masculinity. The installation A Casa É o Corpo: Labirinto (1968) offers a sensory and symbolic experience, as visitors move through an 8-meter-long structure with spaces named penetration, ovulation, germination, and expulsion. Between 1970 and 1975, in collective activities proposed by Lygia Clark at the Faculté d’Arts Plastiques St. Charles, at the Sorbonne, artistic practice was understood as joint creation, transitioning toward therapy.

In Túnel (1973), participants navigate a 50-meter-long fabric tube, where sensations of claustrophobia and suffocation contrast with those of birth, facilitated by openings made by the artist. Canibalismo and Baba Antropofágica (both 1973) allude to archaic rituals of cannibalism, understood as processes of absorption and reinterpretation of the other. In the first event, a person lying down is covered with fruit, consumed by blindfolded participants; in the second, participants place spools of thread of various colors into their mouths and gradually unroll them to cover a person lying on the floor. At the end, everyone becomes entwined with the threads. From 1976 onward, she dedicated herself to therapeutic practice using Relational Objects, which could include plastic bags filled with seeds, air, or water, or stockings containing balls, stones, and shells. In therapy, patients form relationships with these objects through their texture, weight, size, temperature, sound, or movement, allowing them to relive, in a regressive context, sensations recorded in bodily memory from stages of life before acquiring language.

Lygia Clark’s poetics pursue non-representation and the transcendence of support. She aims to demystify art and the artist and to emancipate the spectator, who ultimately participates in creating the work.

By expanding sensory perception in her works, she integrates the body into art, both individually and collectively. Ultimately, she dedicates herself to therapeutic practice. For Milliet, the artist stands out particularly for her determination to navigate the challenging intersections of art and therapy.

Timeline

Lives in Rio de Janeiro 1947 - Begins artistic training with Burle Marx (1909-1994)

1950/1952 - Lives and studies in Paris

1950/1952 - Studies with Fernand Léger (1881-1955), Arpad Szenes (1897-1985), and Isaac Dobrinsky (1891-1973)

1953 - Returns to Rio de Janeiro

1954/1956 - Joins Grupo Frente, led by Ivan Serpa (1923-1973) and including Hélio Oiticica (1937-1980), Lygia Pape (1929-2004), Aluísio Carvão (1920-2001), Décio Vieira (1922-1988), Franz Weissmann (1911-2005), and Abraham Palatnik (1928), among others

1954/1958 - Creates the series Superfícies Moduladas and the series Contra-Relevos

1958/1960 - Receives the Guggenheim International Award in New York

1959 - Becomes one of the founders of the Neo-Concrete Group

1960 - Teaches visual arts at the National Institute of the Deaf, Rio de Janeiro

1960/1964 - Creates the series Bichos, geometric metallic constructions articulated with hinges, requiring the active participation of the viewer

1964 - Develops the proposition Caminhando, a cut on a Möbius strip performed by the participant

1966 - Begins exploring sensory experiences in works such as A Casa É o Corpo

1969 - Participates in the Symposium of Sensory Art in Los Angeles, United States

1970/1976 - Lives and works in Paris

1970/1975 - Teaches at the Faculté d’Arts Plastiques St. Charles, Sorbonne, focusing on creative experiences with an emphasis on group dynamics

1973 - Produces the documentary O Mundo de Lygia Clark with Eduardo Clark

1976/1988 - Returns to reside in Rio de Janeiro

1978/1985 - Devotes herself to studying the therapeutic possibilities of sensory art, working with relational objects

1982 - Delivers the lecture The Therapeutic Method of Lygia Clark, with Luiz Carlos Vanderlei Soares at Tuca, São Paulo

1983/1984 - Publishes the books Livro-Obra, containing Lygia Clark’s proposals and produced by Luciano Figueiredo, and Rio Meu Doce Rio, with text by Lygia Clark

1985 - Presentation of the video Memória do Corpo, by Mario Carneiro, on the artist’s work

1989 - Screening of the video Memória do Corpo at Paço das Artes

Critiques

"Lygia Clark's paintings have no frame of any kind; they are not separated from space, nor are they closed objects within it: they are open to the space that penetrates them, where time unfolds continuously and freshly.

This painting does not 'imitate' external space. On the contrary, space actively participates in it, entering it vividly, truly. It is a painting that does not take place in a metaphorical space, but in 'real' space itself, as an event within it. It is certainly not the same as a sculpture by Bill or Weissmann—facts of space—because Lygia Clark's art, no matter how distant from the traditional concept of painting—which it differs from in both purpose and means—found as its fundamental and primary element of expression the geometrically two-dimensional surface. To assert this surface and at the same time transcend its two-dimensionality—these are the two poles between which her experience unfolds. (...)

Since painting lost its imitative-narrative character to become 'essentially a flat surface covered with colors arranged in a certain way' (Maurice Denis), the canvas, with all the material elements involved—linen, wood, frame, tube paint, brush—became, for the painter, the only gateway through which he could introduce his activity into the meaningful universe of art. But this canvas does not exist without a frame, and the artist, in painting it, already counts on the cushioning function of this wooden strip that will situate the work in the world: for the frame is neither the work (of the artist) nor the world (where the work seeks to be inserted). The frame is precisely a middle ground, a neutral zone born with the work, where every conflict between virtual and real space, between 'gratuitous' work and the practical-bourgeois world, is erased. The painting—this flat surface covered with colors arranged in a certain way and protected by a frame—is, in its apparent simplicity, a sum of compromises from which the artist cannot escape, shaping the creative process. When Lygia Clark attempted, in 1954, to 'include' the frame within the painting, she began to invert this entire order of values and commitments, implicitly claiming a new position for the artist in the world."
Ferreira Gullar
GULLAR, Ferreira. Uma experiência radical. In: LYGIA Clark. Rio de Janeiro: Funarte, 1980. p. 7-12.

"She often says that her current 'bichos' fall, as real cocoons do, from the wall to the floor. Already in 1957, in her notebooks of notes and thoughts, Lygia rebelled against the serial form of Concretism, seeing it as 'a false way to master space,' since it prevented the painter 'from doing it in one stroke.' And she wrote, with astonishing clarity and foresight: 'The artwork must demand immediate participation from the viewer, and the viewer must be thrown into it.' A visionary of space, like every true modern artist (as in the Constructivist Manifesto of the second decade of the 20th century, Gabo and Pevsner affirmed 'the unshakable conviction that only spatial constructions would touch the hearts of future human masses'), rejecting a purely optical vision, she aimed for the viewer to be 'thrown into the work,' experiencing all the spatial possibilities suggested by the piece. 'What I seek,' she said, with profound intuition of the future realization, 'is to compose a space.'
Thus, she already posed a sculptor's problem. The concept of space, like that of reality, underwent a profound transformation in our time. It is no longer static or passive, neither literally nor kinetically, nor even subjectively. It is no longer a contemplative space but a surrounding space."
Mário Pedrosa
PEDROSA, Mario. Significação de Lygia Clark. In: LYGIA Clark. Rio de Janeiro: Funarte, 1980. p. 14-17.

"Whenever I try to situate the aesthetic position of my development historically in relation to its origins, I conclude that it is not a highly individual or personal development, but one that completes a historical context and generates a movement alongside other artists. It is an active, collective necessity. Then comes the relationship with Lygia Clark's work, which, among us, represents the most universal in the field of visual arts. Reviewing her development, one immediately notices the coherence and intuition of her ideas, an intrinsic general grandeur that comes from within, optimistic. Above all, the affirmative courage of her démarches impresses me. In my view, this marks the link in post-Mondrian development, the initiating bond among us of all that is universal and new to emerge in this trajectory. Lygia Clark did not limit herself to superficially understanding Mondrian’s 'geometrism,' allowing us to see what her most important démarches were, which opened new paths for art. Her initial understanding concerns 'space' as the fundamental element engaged by Mondrian, to which she gave new meaning—this being the main reason for her connection to Mondrian, rather than to 'geometric form' as many others. She thus grasped the essence of Mondrian's great intuitions, not from the outside but from within, as something alive; his need to 'verticalize' space, to 'break the frame,' for instance, were not merely intellectual or 'interesting' experiments, but highly aesthetic and ethical necessities, remarkably noble, placing her in relation to Mondrian as Cubism relates to Cézanne.

Lygia Clark’s work, still relatively in its early phase as she herself classifies it, oscillates between a more romantic period of elaboration and a more structural, almost architectural phase, even reaching into architecture itself. Her 'unidades' phase—paintings so spatial and vertical that they virtually approach architecture—is among the most significant. I would even say that, since Mondrian, the 'plane of the painting' had never been experienced so fully as here; whereas in Mondrian it marked the end of representation, taken to its most abstract extreme, here there is a further step in the temporalization of pictorial space, subsequently leading to its rupture into three-dimensional space and the dismantling of the basic plane that constituted the canvas. The alternation between white lines and black spaces generates virtualities that give the surface an infinite dimension, as desired, for example, by Albers, who only partially achieved it. Here, Lygia reaches the pinnacle of her 'surface' experiments, attaining a transcendence rarely seen or experienced by so-called 'geometric' artists. What matters here is not 'geometrism', nor 'form', nor optics (as in Albers), but the spaces opposing one another, generating their own temporal rhythm. This experience remains one of the most striking in the creation of the spatio-temporal sense of painting, where black does not function as a mere 'graphic color' next to white, but as an elemental non-color, the threshold where light (white) and shadow (black) meet and energize each other through space-time opposition. These works are orthogonal in structure, yet they hardly resemble Mondrian in appearance; and to think that some claimed no one could produce an orthogonal painting without falling into Mondrian (through the opposition of horizontal and vertical). Here, the orthogonal sense is universal, vertical, and architectural, not relative to Mondrian or Neoplasticism.

Shortly thereafter, the frontal surface is entirely consumed by black, with white appearing at the corner of the canvas, as this experience itself becomes what she calls the 'thread of space' (even in the unidades).

It is interesting to note that the orthogonality here rotates in a lozenge-like direction, marking the first decisive step toward spatial expansion (casulos, bichos). Lygia called this work the 'egg', which truly embodies the entirety of her subsequent spatial development. The 'egg' already extended sideways, creating 'tunnels' from end to end. This marked the beginning of the masterful experiment that would crystallize in the 'bichos'.
Hélio Oiticica
OITICICA, Hélio. Aspiro ao grande labirinto. Rio de Janeiro: Rocco, 1986. pp. 33-34.

"Strangely organic in their metallic shells, the bichos constitute prototypes of a new species. Prototypes, indeed, because the intention was to produce them in series—to sell them everywhere, to allow many to own them, ultimately breaking the aura of the unique artwork. A socially driven intention, as a protest against elitism and the monopoly of art, to exist in the streets, in anyone’s apartment, not confined to galleries and museums. This did not fully succeed. Few were reproduced. Those that remain are frozen in a castrating solitude, respectfully observed from a distance, belonging to collections. Fetishized, they are forced back onto pedestals, denying their original freedom.
Designed to be multiple rather than unique, the bichos hardly multiplied. (...)
The materials used, the precise cutting, the polished surfaces, and the serial conception make the bichos works committed to merging the technological with the poetic. 'Between-objects', in Max Bense’s words, because 'artificial and artistic correspond simultaneously to both possible determination and possible indetermination'. Objects in transit are constructive in character because they contain mathematical elements, yet approach the concept of non-constructive objects because they allow for interventions".
Maria Alice Milliet
MILLIET, Maria Alice. Lygia Clark: obra-trajeto. São Paulo: Edusp, 1992. pp. 79-85.

"Lygia Clark’s constructive trajectory began in the 1950s with the visual solutions she proposed to problems of representing space on the plane posed by international avant-gardes; we will attempt to reconstruct this inquiry, which developed through the 1980s guided by the 'passion for coherence'. 'The work has a line, even if, when you look at it, it seems that nothing is connected, formally speaking; nothing really is, but conceptually it is unbreakable.' This concept is not a formal a priori, a teleology at the origin of her artistic practice explaining the internal dynamism; it is rather a developmental rationale that allows us to grasp the meaning of her shifts. Her path is a natural movement made of differences and qualitative changes, similar to phases in a living being’s development. An evolutionary line: 'One can never go back.'
Descriptive analysis of her constructive series, which unites paintings with sensory propositions, shows that her work is not the empirical result of purely theoretical speculation: 'I never had a concept a priori. At first, I was naive. With my work, I became more refined in feeling and conceptualizing everything. Indeed, I have always said that for me, making art was first about developing myself as a human being; it wasn’t about having a name or conceptual recognition.' Neither was the use of different materials (pigments, metal plates, rubber, plastic bags, styrofoam, etc.) what drove her research from representational to organic space: 'The material never imposed itself on me. When I need to express a thought, I look for the material that corresponds to the language I seek. I don’t work in pursuit of new materials' ".
Ricardo Nascimento Fabbrini
FABBRINI, Ricardo Nascimento. O espaço de Lygia Clark. São Paulo: Atlas, 1994. pp. 11-12.

"Lygia Clark’s trajectory is the adventure of space. The twisting of planar logic into the flow of impulses defines its landmarks. From the empirical perception of stair steps as an architectural structure of planes, Clark’s process implies the conversion of art on the geometric plane into a poetics of topology and experience. From planar dimension to the exploration of the material configuration of the pictorial plane, from the redimensioning of the geometric within the field of vision to the articulation of the senses, later directed toward an architecture of the subject’s inner space (...) Between Cézanne’s 'obsession' and Van Gogh’s 'madness', Clark’s position could be situated as a 'non-artist', comparable to Cézanne’s 'unfinished canvas' (letting raw linen show as part of the painted landscape), says Frederico Gomes. Clark moves to surpass the importance of the object. The artist is not defined by presenting the object, but by proposing the experience, as in Caminhando. The clear relationship is between the artist and the Other. In parallel, Oiticica speaks of the 'definitive suppression of the artwork'. In the formation of the collective body, Clark explores exchanges within a fabric of alterities. Hélio Oiticica declares himself a non-modernist. Finally, the artist, the Other, and relational objects are engaged in a therapeutic action, transcending the boundary between art and life. Within this practice, there is no room for action within the art system—museum, market, criticism, or history. Clark embraces the extremes of her project: she declares herself a non-artist. Her relationship of alterity, through her cultural engagement, gradually shifts from the viewer’s enjoyment and action (as in the theory of the non-object) toward the recognition of the Other as a necessary being and ultimately a concrete subject".
Paulo Herkenhoff
HERKENHOFF, Paulo. A aventura planar de Lygia Clark: de caracóis, escadas e caminhando. In: CLARK, Lygia. Lygia Clark. São Paulo: MAM, 1999. pp. 7, 57.

Collections

21st Museum of Contemporary Art - Kanazawa (Japan)
Austin Desmond Fine Art - England
Centre Pompidou - Musée National d'Art Moderne - Paris (France)
Cisneros Fontanals Art Foundation (CIFO) - Miami (United States)
Costantini Collection - Museo de Arte Latinoamericano de Buenos Aires (MALBA) - Buenos Aires (Argentina)
Coopel Collection - Mexico
Daros Latinamerica - Zurich (Switzerland)
Fundacion Cisneros - Caracas (Venezuela)
Museo de la Solidaridad Salvador Allende - Santiago (Chile)
Museo Nacional Centro de Arte Reina Sofía - Madrid (Spain)
Museum of Contemporary Art, University of São Paulo (MAC/USP) - São Paulo, SP
Museum of Contemporary Art of Niterói (MAC-Niterói) - Niterói, RJ
Museum of Modern Art of São Paulo (MAM/SP) - São Paulo, SP
Museum of Modern Art Rio de Janeiro (MAM/RJ) - Rio de Janeiro, RJ
Museum of Fine Arts - Houston (United States)
Museum of Modern Art (MoMA) - New York (United States)
Tate Modern - London (United Kingdom)
Walker Art Center - United States

Solo Exhibitions

1952 - Paris (France) - Solo, Institut Endoplastique
1952 - Rio de Janeiro, RJ - Solo, Ministry of Education and Culture
1959 - New York (United States) - Solo, Guggenheim
1960 - Rio de Janeiro, RJ - Solo, Galeria Bonino
1963 - New York (United States) - Solo, Louis Alexander Gallery
1963 - Rio de Janeiro, RJ - Solo, Museum of Modern Art
1964 - Stuttgart (Germany) - Solo, Studium Generale, Technische Hochschule
1964 - Stuttgart (Germany) - Solo, Max Bense Studio
1965 - London (England) - Solo, Signals Gallery
1968 - Essen (Germany) - Solo, Galerie M. E. Thelen
1968 - Rio de Janeiro, RJ - A Casa É o Corpo, Museum of Modern Art
1970 - Cologne (Germany) - Solo, Kölner Künster Markt
1971 - São Paulo, SP - Solo, Galeria Ralph Camargo
1980 - Rio de Janeiro, RJ - Solo, National Arts Foundation, Centro de Artes
1980 - Niterói, RJ

Group Exhibitions

1953 - Petrópolis RJ - 1st National Exhibition of Abstract Art, Hotel Quitandinha
1953 - São Paulo SP - 2nd São Paulo International Biennial, Pavilhão dos Estados
1954 - Rio de Janeiro RJ - 1st Grupo Frente, Galeria Ibeu Copacabana
1954 - Rio de Janeiro RJ - Black and White Salon, Palácio da Cultura
1954 - Venice (Italy) - 27th Venice Biennale
1955 - Neuchâtel (Switzerland) - Brazilian Artists
1955 - Paris (France) - Brazilian Artists, Musée d'Art Moderne de la Ville de Paris
1955 - Rio de Janeiro RJ - 2nd Grupo Frente, Museum of Modern Art
1955 - São Paulo SP - 3rd São Paulo International Biennial, Pavilhão das Nações
1956 - Montevideo (Uruguay) - Contemporary Brazilian Painting, Instituto de Cultura Uruguayo-Brasileño
1956 - Resende RJ - 3rd Grupo Frente, Itatiaia Country Club
1956 - São Paulo SP - 1st National Exhibition of Concrete Art, Museum of Modern Art
1956 - Volta Redonda RJ - 4th Grupo Frente, Companhia Siderúrgica Nacional
1957 - Buenos Aires (Argentina) - Modern Art in Brazil, Museo Nacional de Bellas Artes
1957 - Rio de Janeiro RJ - 1st National Exhibition of Concrete Art, Ministry of Education and Culture
1957 - Rio de Janeiro RJ - 6th National Modern Art Salon
1957 - São Paulo SP - 4th São Paulo International Biennial, Pavilhão Ciccilo Matarazzo Sobrinho - acquisition prize
1958 - São Paulo SP - Clark, Weissmann and Charoux, Galeria de Artes das Folhas
1958 - São Paulo SP - Leirner Contemporary Art Prize, Galeria de Artes das Folhas
1959 - Amsterdam (Netherlands) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Barcelona (Spain) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Basel (Switzerland) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Buenos Aires (Argentina) - Modern Art in Brazil, Museo Nacional de Bellas Artes
1959 - Leverkusen (Germany) - First Collective Exhibition of Brazilian Artists in Europe
1959 - London (England) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Milan (Italy) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Munich (Germany) - First Collective Exhibition of Brazilian Artists in Europe, Kunsthaus
1959 - Rio de Janeiro RJ - 1st Neo-Concrete Art Exhibition, Museum of Modern Art
1959 - Rome (Italy) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Salvador BA - 1st Neo-Concrete Art Exhibition, Galeria Belvedere da Sé
1959 - São Paulo SP - 5th São Paulo International Biennial, Pavilhão Ciccilo Matarazzo Sobrinho
1959 - Vienna (Austria) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Hamburg (Germany) - First Collective Exhibition of Brazilian Artists in Europe
1960 - La Paz (Bolivia) - Group Exhibition, Museo de Arte Moderno
1960 - Lisbon (Portugal) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Madrid (Spain) - First Collective Exhibition of Brazilian Artists in Europe
1960 - New York (United States) - Group Exhibition, Museum of Modern Art
1960 - Paris (France) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Rio de Janeiro RJ - 2nd Neo-Concrete Art Exhibition, Ministry of Education and Culture
1960 - Rio de Janeiro RJ - Galeria Bonino: Inaugural Exhibition, Galeria Bonino
1960 - São Paulo SP - Women's Contribution to Fine Arts in Brazil, Museum of Modern Art
1960 - Utrecht (Netherlands) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Venice (Italy) - 30th Venice Biennale
1960 - Zurich (Switzerland) - Konkrete Kunst, Helmhaus
1961 - São Paulo SP - 3rd Neo-Concrete Art Exhibition, Museum of Modern Art
1961 - São Paulo SP - 6th São Paulo International Biennial, Pavilhão Ciccilo Matarazzo Sobrinho - Best National Sculptor Award
1962 - Venice (Italy) - 31st Venice Biennale
1962 - Washington D.C. (United States) - Collection of Works by Brazilian Artists, Pan American Union Gallery
1963 - Campinas SP - Contemporary Painting and Sculpture, Museu Carlos Gomes
1963 - Rome (Italy) - Brazilian Art Exhibition, Galleria d'Arte della Casa do Brasil
1963 - São Paulo SP - 7th São Paulo International Biennial, Fundação Bienal - special room
1963 - Trieste (Italy) - Mostra d'Arte Brasiliana
1964 - Arras (France) - The Today of Tomorrow, Musée d’Arras
1964 - London (England) - 1st Latin American Modern Art Festival, Signals Gallery
1964 - London (England) - 2nd Pilot Exhibition of Kinetic Art
1964 - Paris (France) - Movement II, Galerie Denise René
1965 - Edinburgh (Scotland) - Art and Movement, Diploma Galleries of the Royal Scottish Academy
1965 - Glasgow (Scotland) - Art and Movement, Kelvingrove Art Gallery and Museum
1965 - Liverpool (England) - Arts-Science 1965, University of Liverpool Students’ Union
1965 - London (England) - An Anthology of Mobile Sculpture, Signals Gallery
1965 - Paris (France) - Objectits 65, Galerie de la Librarie Anglaise
1965 - São Paulo SP - 8th São Paulo International Biennial, Fundação Bienal
1966 - Austin (United States) - Art of Latin America since Independence, The University of Texas at Austin, Archer M. Huntington Art Gallery
1966 - Belo Horizonte MG - Brazilian Vanguard, UFMG
1966 - Buenos Aires (Argentina) - Contemporary Brazilian Artists, Museo de Arte Moderno
1966 - La Jolla (United States) - Art of Latin America since Independence, Museum of Contemporary Art San Diego

1966 - Montevideo (Uruguay) - Contemporary Brazilian Artists, Museo de Arte Moderno de Montevideo
1966 - New Haven (USA) - Art of Latin America since Independence, Yale University Art Gallery
1966 - New Orleans (USA) - Art of Latin America since Independence, Isaac Delgado Museum of Art
1966 - Rio de Janeiro RJ - Opinion 66, Museu de Arte Moderna
1966 - Salvador BA - 1st National Biennial of Visual Arts – Special Room and Grand Prize
1966 - San Francisco (USA) - Art of Latin America since Independence, San Francisco Art Museum
1967 - Rio de Janeiro RJ - New Brazilian Objectivity, Museu de Arte Moderna
1967 - São Paulo SP - 9th São Paulo International Biennial, Fundação Bienal
1968 - Venice (Italy) - 34th Venice Biennale – Special Room
1969 - California (USA) - Symposium of Sensorial Art
1969 - Essen (Germany) - Bonalumi – Clark – Cruz Diez, M. E. Thelen Gallery
1969 - London (UK) - Arts Council of Great Britain
1969 - Paris (France) - 24th Salon des Réalités Nouvelles
1969 - Rio de Janeiro RJ - 7th JB Art Review, Museu de Arte Moderna
1970 - Medellín (Colombia) - 2nd Medellín Biennial, Museo de Antioquia
1970 - Oxford (UK) - Group Exhibition, Museum of Modern Art
1970 - Paris (France) - Salon Jeune Sculpture
1972 - São Paulo SP - Arte/Brasil/Hoje: 50 Years Later, Collectio Gallery
1973 - Rio de Janeiro RJ - International Vanguard, Ibeu Copacabana Gallery
1973 - São Paulo SP - 12th São Paulo International Biennial, Fundação Bienal
1976 - São Paulo SP - Brazilian Art: Figures and Movements, Arte Global Gallery
1977 - Rio de Janeiro RJ - Brazilian Constructive Project in Art: 1950–1962, Museu de Arte Moderna
1977 - São Paulo SP - Brazilian Constructive Project in Art: 1950–1962, Pinacoteca do Estado
1978 - Rio de Janeiro RJ - Brazilian Sculpture in Urban Space: 50 Years, Praça Nossa Senhora da Paz, Ipanema
1978 - São Paulo SP - Biennials and Abstraction: The 1950s, Museu Lasar Segall
1978 - São Paulo SP - The Object in Art: Brazil in the 1960s, Museu de Arte Brasileira
1980 - Rio de Janeiro RJ - Homage to Mário Pedrosa, Jean Boghici Gallery
1980 - São Paulo SP - Amilcar de Castro, Lygia Clark, Sérgio de Camargo and Franz Weissmann, Raquel Arnaud Art Cabinet
1981 - Porto Alegre RS - Brazilian Artists of the 1960s and 1970s in the Rubem Knijnik Collection, Espaço NO Galeria Chaves
1981 - Recife PE - 1st International Art-Door Exhibition
1982 - Hawaii (USA) - The First International Shoe-Box, Sculpture, University of Hawai’i Arts Gallery
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, José de Azeredo Perdigão Center for Modern Art
1982 - London (UK) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, Barbican Art Gallery
1982 - Rio de Janeiro RJ - What House is This of Brazilian Art
1983 - São Paulo SP - Imagining the Present, Raquel Arnaud Art Cabinet
1983 - São Paulo SP - Reinterpretation Project, Pinacoteca do Estado
1984 - Rio de Janeiro RJ - Grupo Frente 1954–1956, Banerj Art Gallery
1984 - Rio de Janeiro RJ - Wood, Matter of Art, Museu de Arte Moderna
1984 - Rio de Janeiro RJ - Neo-Concretism 1959–1961, Banerj Art Gallery
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, Museu de Arte Moderna
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, Fundação Bienal
1984 - Volta Redonda RJ - Grupo Frente 1954–1956
1985 - Belo Horizonte MG - Rio: Constructive Current, Museu de Arte da Pampulha
1985 - Niterói RJ - Trends in Artist’s Books in Brazil – Contemporary Brazilian Art: 1985, UFF Art Gallery
1985 - Rio de Janeiro RJ - 8th National Visual Arts Salon, Museu de Arte Moderna
1985 - São Paulo SP - 18th São Paulo International Biennial, Fundação Bienal
1985 - São Paulo SP - Rio: Constructive Current, Museu de Arte Contemporânea da Universidade de São Paulo
1985 - São Paulo SP - Trends in Artist’s Books in Brazil, Centro Cultural São Paulo
1986 - Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art 1960s/70s/80s, Museu de Arte do Rio Grande do Sul Ado Malagoli
1986 - Resende RJ - Grupo Frente 1954–1956
1986 - Rio de Janeiro RJ - 9th National Visual Arts Salon – Lygia Clark and Hélio Oiticica, Paço Imperial
1986 - Rio de Janeiro RJ - JK and the 1950s: A View of Culture and Everyday Life, Investiarte Gallery
1986 - São Paulo SP - Geometric Abstraction, Museu de Arte Brasileira
1986 - São Paulo SP - Group Exhibition, Raquel Arnaud Art Cabinet (January)
1986 - São Paulo SP - Group Exhibition, Raquel Arnaud Art Cabinet (July)
1987 - Paris (France) - Modernity: 20th Century Brazilian Art, Musée d’Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - 1st Geometric Abstraction: Concretism and Neo-Concretism, Fundação Nacional de Artes
1987 - Rio de Janeiro RJ - Geometric and Informal Abstraction: Aspects of the Brazilian Vanguard of the 1950s, Fundação Nacional de Artes
1987 - Rio de Janeiro RJ - Some Women, Ipanema Art Gallery
1987 - Rio de Janeiro RJ - To the Collector: Homage to Gilberto Chateaubriand, Museu de Arte Moderna
1987 - São Paulo SP - 1st Geometric Abstraction: Concretism and Neo-Concretism, Museu de Arte Brasileira
1987 - São Paulo SP - 9th National Visual Arts Salon – Lygia Clark and Hélio Oiticica, Museu de Arte Contemporânea da Universidade de São Paulo
1987 - São Paulo SP - Biennials in the MAC Collection: 1951–1985, Museu de Arte Contemporânea da Universidade de São Paulo
1987 - São Paulo SP - The Craft of Art: Painting, Sesc
1988 - New York (USA) - Brazil Projects, The Institute for Art and Urban Resources, Inc.
1988 - São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, Museu de Arte Contemporânea da Universidade de São Paulo
1988 - São Paulo SP - Modernity: 20th Century Brazilian Art, Museu de Arte Moderna

Posthumous Exhibitions

1988 - New York, USA - The Latin American Spirit: Art and Artists in the United States, 1920-1970, The Bronx Museum of the Arts
1989 - El Paso, USA - The Latin American Spirit: Art and Artists in the United States, 1920-1970, El Paso Museum of Art
1989 - Stockholm, Sweden - Art in Latin America: The Modern Era 1820-1980, Moderna Museet
1989 - London, UK - Art in Latin America: The Modern Era 1820-1980, Hayward Gallery
1989 - Rio de Janeiro RJ, Brazil - Pequenas Grandezas dos Anos 50, Gabinete de Arte Cleide Wanderley
1989 - San Diego, USA - The Latin American Spirit: Art and Artists in the United States, 1920-1970, San Diego Museum of Art
1989 - San Juan, Puerto Rico - The Latin American Spirit: Art and Artists in the United States, 1920-1970, Instituto de Cultura Puertorriqueña
1990 - Miami, USA - The Latin American Spirit: Art and Artists in the United States, 1920-1970, Center for the Fine Arts Miami Art Museum of Date
1990 - Madrid, Spain - Art in Latin America: The Modern Era 1820-1980, Palacio de Velázquez
1990 - São Paulo SP, Brazil - Coerência - Transformação, Gabinete de Arte Raquel Arnaud
1990 - São Paulo SP, Brazil - Espiral, Miriam Mamber Galeria de Arte
1991 - Curitiba PR, Brazil - Rio de Janeiro 1959/1960: Neoconcrete Experience, Museu Municipal de Arte
1991 - Rio de Janeiro RJ, Brazil - Rio de Janeiro 1959/1960: Neoconcrete Experience, Museu de Arte Moderna
1991 - São Paulo SP, Brazil - Geometric and Informal Abstractionism: Aspects of the Brazilian Avant-Garde of the 1950s, Pinacoteca do Estado
1991 - São Paulo SP, Brazil - Constructivism: Poster Art 40/50/60, Museu de Arte Contemporânea da Universidade de São Paulo
1992 - Paris, France - Latin American Artists of the Twentieth Century, Centre Georges Pompidou
1992 - Rio de Janeiro RJ, Brazil - 1st A Caminho de Niterói: João Sattamini Collection, Paço Imperial
1992 - Rio de Janeiro RJ, Brazil - Nature: Four Centuries of Art in Brazil, Centro Cultural Banco do Brasil
1992 - São Paulo SP, Brazil - Dominant White, Galeria de Arte São Paulo
1992 - São Paulo SP, Brazil - Retrospective, Dan Galeria
1992 - Seville, Spain - Latin American Artists of the Twentieth Century, Estación Plaza de Armas
1992 - Washington, USA - Brazilian Visual Art
1992 - Zurich, Switzerland - Brasilien: Entdeckung und Selbstentdeckung, Kunsthaus Zürich
1993 - Belo Horizonte MG, Brazil - Individual, Museu de Arte de Belo Horizonte
1993 - Cologne, Germany - Latin American Artists of the Twentieth Century, Kunsthalle Cologne
1993 - Florence, Italy - Brazil: Signs of Art, Biblioteca Nationale Centrale di Firenze
1993 - Milan, Italy - Brazil: Signs of Art, Biblioteca Nazionale Braidense
1993 - New York, USA - Latin American Artists of the Twentieth Century, The Museum of Modern Art
1993 - Rio de Janeiro RJ, Brazil - Brazil, 100 Years of Modern Art, Museu Nacional de Belas Artes
1993 - Rome, Italy - Brazil: Signs of Art
1993 - São Paulo SP, Brazil - Brazilian Art in the World: A Trajectory – 24 Brazilian Artists, Dan Galeria
1993 - Venice, Italy - Brazil: Signs of Art, Fondazione Scientífica Querini Stampalia
1994 - Belo Horizonte MG, Brazil - The Ephemeral in Brazilian Art: 1960s/1970s, Itaú Cultural
1994 - Penápolis SP, Brazil - The Ephemeral in Brazilian Art: 1960s/1970s, Itaugaleria
1994 - Rio de Janeiro RJ, Brazil - Book-Object: The Frontier of Voids, Centro Cultural Banco do Brasil
1994 - São Paulo SP, Brazil - 22nd São Paulo International Biennial, Fundação Bienal
1994 - São Paulo SP, Brazil - Bienal Brasil Século XX, Fundação Bienal
1994 - São Paulo SP, Brazil - The Ephemeral in Brazilian Art: 1960s/1970s, Itaú Cultural
1995 - São Paulo SP, Brazil - Book-Object: The Frontier of Voids, Museu de Arte Moderna
1996 - Boston, USA - Inside the Visible, Institute of Contemporary Art
1996 - Brasília DF, Brazil - The Ephemeral in Brazilian Art: 1960s/1970s, Itaugaleria
1996 - Kortrijk, Belgium - Inside the Visible, Kanaal Art Foundation
1996 - London, UK - Inside the Visible, Whitechapel Art Gallery
1996 - Niterói RJ, Brazil - Brazilian Contemporary Art in the João Sattamini Collection, Museu de Arte Contemporânea
1996 - Perth, Australia - Inside the Visible, Art Gallery of Western Australia
1996 - Rio de Janeiro RJ, Brazil - Constructive Trends in the MAC/USP Collection: Construction, Measure, and Proportion, Centro Cultural Banco do Brasil
1996 - Rio de Janeiro RJ, Brazil - Individual, Galeria José Edelstein
1996 - São Paulo SP, Brazil - Brazilian Art: 50 Years in the MAC/USP Collection: 1920-1970, Museu de Arte Contemporânea da Universidade de São Paulo
1996 - São Paulo SP, Brazil - Desexp(l)os(ign)ição, Casa das Rosas
1996 - São Paulo SP, Brazil - Ex Libris/Home Page, Paço das Artes
1996 - São Paulo SP, Brazil - The World of Mario Schenberg, Casa das Rosas
1996 - Washington D.C., USA - Inside the Visible, National Museum of Women in the Arts
1997 - Barcelona, Spain - Retrospective, Fundació Antoni Tàpies
1997 - Kassel, Germany - 10th Documenta, Museum Fridericianum
1997 - Porto Alegre RS, Brazil - 1st Mercosur Visual Arts Biennial, Fundação Bienal de Artes Visuais do Mercosul
1997 - Porto Alegre RS, Brazil - Constructive Approach and Design, Espaço Cultural ULBRA
1997 - São Paulo SP, Brazil - Brazilian Sculpture: Profile of an Identity, Banco Safra
1997 - São Paulo SP, Brazil - Three-Dimensionality in 20th Century Brazilian Art, Itaú Cultural
1997 - Washington, USA - Brazilian Sculpture: Profile of an Identity, BID Cultural Center
1998 - Barcelona, Spain - Out of Actions: Between Performance and the Object, 1949-1979, Museu d'Art Contemporani
1998 - Belo Horizonte MG, Brazil - Three-Dimensionality in 20th Century Brazilian Art, Itaú Cultural
1998 - Brasília DF, Brazil - Three-Dimensionality in 20th Century Brazilian Art, Itaugaleria
1998 - Brussels, Belgium - Individual, Palais des Beaux-Arts
1998 - Campinas SP, Brazil - Three-Dimensionality in 20th Century Brazilian Art, Itaú Cultural
1998 - Los Angeles, USA - Out of Actions: Between Performance and the Object, 1949-1979, The Museum of Contemporary Art
1998 - Marseille (France) - Solo exhibition, Galeries Contemporaines des Musées de Marseille
1998 - Niterói RJ - Espelho da Bienal, Museu de Arte Contemporânea
1998 - Penápolis SP - Tridimensionalidade na Arte Brasileira do Século XX, Itaugaleria
1998 - Porto (Portugal) - Solo exhibition, Fundação de Serralves
1998 - Rio de Janeiro RJ - Caminhando: retrospective of Lygia Clark, Paço Imperial
1998 - Rio de Janeiro RJ - Thirty Years of '68, Centro Cultural Banco do Brasil
1998 - São Paulo SP - Constructive Art in Brazil: Adolpho Leirner Collection, Museu de Arte Moderna
1998 - São Paulo SP - 24th São Paulo International Biennial, Fundação Bienal
1998 - Vienna (Austria) - Out of Actions: Between Performance and the Object, 1949-1979, Austrian Museum of Applied Arts
1999 - Brasília DF - LHL: Lygia Clark, Hélio Oiticica, Lygia Pape, Caixa Econômica Federal Gallery
1999 - Los Angeles (USA) - The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias Goeritz, Helio Oiticica, and Mira Schendel, The Museum of Contemporary Art
1999 - Rio de Janeiro RJ - Constructive Art in Brazil: Adolpho Leirner Collection, Museu de Arte Moderna
1999 - São Paulo SP - 3rd Contemporary Legacies III, Museu de Arte Contemporânea da Universidade de São Paulo
1999 - São Paulo SP - Solo exhibition, Galeria Brito Cimino
1999 - São Paulo SP - Solo exhibition, Museu de Arte Moderna
1999 - Tokyo (Japan) - Out of Actions: Between Performance and the Object, 1949-1979, Hara Museum of Contemporary Art
2000 - Brasília DF - Brazil-Europe Exhibition: Encounters in the 20th Century, Caixa Cultural
2000 - Caracas (Venezuela) - Common Territory, Diverse Perspectives: Latin American Artists in the 20th Century, Espacios Unión
2000 - Curitiba PR - 12th Curitiba Printmaking Exhibition. Marks of the Body, Folds of the Soul
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, Centro de Arte Moderna José de Azeredo Perdigão
2000 - Niterói RJ - Sattamini Collection: from Materials to Internal Differences, MAC-Niterói
2000 - Prague (Czech Republic) - Beyond Preconceptions: The Sixties Experiment, National Gallery
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro, 1905-1960, Paço Imperial
2000 - Rio de Janeiro RJ - Situations: Brazilian Art in the 1970s, Fundação Casa França-Brasil
2000 - São Paulo SP - Conceptual Art and Conceptualisms: 1970s in the MAC/USP Collection, Sesi Art Gallery
2000 - São Paulo SP - Brazil + 500: Rediscovery Exhibition. Contemporary Art, Fundação Bienal
2000 - Warsaw (Poland) - Beyond Preconceptions: The Sixties Experiment
2001 - Belo Horizonte MG - Modernism in Minas: Referential Icons, Itaú Cultural
2001 - Buenos Aires (Argentina) - Beyond Preconceptions: The Sixties Experiment, Museo de Arte Moderno de Buenos Aires
2001 - New York (USA) - Brazil: Body and Soul, Solomon R. Guggenheim Museum
2001 - Oxford (UK) - Experiment Experience: Art in Brazil 1958-2000, Museum of Modern Art Oxford
2001 - Penápolis SP - Modernism in Minas: Referential Icons, Itaugaleria
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, Margs
2001 - Rio de Janeiro RJ - Brazilian Watercolors, Centro Cultural Light
2001 - Rio de Janeiro RJ - Beyond Preconceptions: The Sixties Experiment, Paço Imperial
2001 - Rio de Janeiro RJ - Lygia Clark, Espaço Antonio Bernardo
2001 - São Paulo SP - Beyond Preconceptions: The Sixties Experiment, Museu de Arte Brasileira da FAAP
2001 - São Paulo SP - 50th Biennial: A Tribute to Ciccillo Matarazzo, Fundação Bienal
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, Museu de Arte Brasileira
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, Itaú Cultural
2002 - Berkeley (USA) - Beyond Preconceptions: The Sixties Experiment, Berkeley Art Museum and Pacific Film Archive
2002 - Fortaleza CE - Ceará Rediscovering Brazil, Centro Dragão do Mar de Arte e Cultura
2002 - London (UK) - Experiences: Dialogues Between the Works of Brazilian Artists from the 1960s to 2002, The New Art Gallery Walsall
2002 - Madrid (Spain) - Arco/2002, Parque Ferial Juan Carlos I
2002 - Niterói RJ - Works on Paper Collection, Museu de Arte Contemporânea
2002 - Niterói RJ - Dialogue, Antagonism, and Replication in the Sattamini Collection, Museu de Arte Contemporânea
2002 - Rio de Janeiro RJ - Archipelagos: The Plural Universe of MAM, Museu de Arte Moderna
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, Centro Cultural Banco do Brasil
2002 - Rio de Janeiro RJ - Beyond Preconceptions: The Sixties Experiment, Museu de Arte Moderna
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, Paço Imperial
2002 - Rio de Janeiro RJ - Genealogy of Space, Centro Cultural Municipal Parque das Ruínas
2002 - Rio de Janeiro RJ - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Cisneros Collection, Museu de Arte Moderna
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, Centro Cultural Banco do Brasil
2002 - São Paulo SP - Beyond Preconceptions: The Sixties Experiment, Museu de Arte Moderna
2002 - São Paulo SP - Collective 2002, Galeria Baró Senna
2002 - São Paulo SP - Wild Mirror: Modern Art in Brazil in the First Half of the 20th Century, Nemirovsky Collection, Museu de Arte Moderna
2002 - São Paulo SP - Geometric and Kinetic Art, Gabinete de Arte Raquel Arnaud
2002 - São Paulo SP - Map of the Now: Recent Brazilian Art in the João Sattamini Collection, Museu de Arte Contemporânea de Niterói, Instituto Tomie Ohtake
2002 - São Paulo SP - The Plan as a Structure of Form, Espaço MAM - Villa-Lobos
2002 - São Paulo SP - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Cisneros Collection, Museu de Arte Moderna
2003 - Belo Horizonte MG - 10 x Minas, Museu de Arte da Pampulha
2003 - Belo Horizonte MG - Geometric, Léo-Bahia Arte Contemporânea
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of Modernity to the Autonomy of Language, Centro Cultural Banco do Brasil
2003 - Buenos Aires (Argentina) - Geo-Metrias: Latin American Geometric Abstraction in the Cisneros Collection, Malba
2003 - Campos dos Goytacazes RJ - Planar-Spatial Poem, Sesc
2003 - Mexico City (Mexico) - Cuasi Corpus: Concrete and Neo-Concrete Art from Brazil: A Selection from the São Paulo Museum of Modern Art and the Adolpho Leirner Collection, Museo Rufino Tamayo
2003 - Curitiba PR - Imagética, Cinemateca de Curitiba
2003 - Ipatinga MG - 10 x Minas, Centro Cultural Usiminas - Ipatinga
2003 - Nova Friburgo RJ - Planar-Spatial Poem, Sesc Nova Friburgo
2003 - Rio de Janeiro RJ - Brazilian Art: From the 1930 Revolution to the Postwar, Museu de Arte Moderna
2003 - Rio de Janeiro RJ - Order x Freedom, Museu de Arte Moderna
2003 - São Paulo SP - Sculptors - Sculptures, Pinakotheke
2003 - Vila Velha ES - The Salt of the Earth, Museu Vale
2004 - Kyoto (Japan) - Brazil: Body Nostalgia, National Museum of Modern Art, Kyoto
2004 - Madrid (Spain) - Arco, Parque Ferial Juan Carlos I
2004 - Niterói RJ - Transitive Modernity, Museu de Arte Contemporânea
2004 - São Paulo SP - The Biennials: A View on Brazilian Production 1951-2002, Galeria Bergamin
2004 - São Paulo SP - Fifty 50, Museum of Modern Art
2004 - São Paulo SP - Solo Exhibition, Dan Gallery
2004 - São Paulo SP - Brazilian Version, Galeria Brito Cimino
2004 - Tokyo (Japan) - Brazil: body nostalgia, The National Museum of Modern Art
2005 - Chicago (USA) - Tropicália: a revolution in Brazilian culture, Museum of Contemporary Art
2005 - Fortaleza CE - Brazilian Art: in public and private collections of Ceará, Espaço Cultural Unifor
2005 - London (UK) - Open Systems: Rethinking Art c.1970, Tate Modern
2005 - Petrópolis RJ - Abstract Express, Imperial Museum
2005 - Porto Alegre RS - 5th Mercosur Visual Arts Biennial
2005 - Rio de Janeiro RJ - Soto: the construction of immateriality, Centro Cultural Banco do Brasil
2005 - São Paulo SP - 100 Years of the Pinacoteca: the formation of a collection, Sesi Art Gallery
2005 - São Paulo SP - Through, or Corrupted Geometry, Galeria Bergamin
2005 - São Paulo SP - Homo Ludens: from make-believe to vertigo, Itaú Cultural
2005 - São Paulo SP - The Body in Contemporary Brazilian Art, Itaú Cultural
2006 - London (UK) - Tropicália: a revolution in Brazilian culture, Barbican Art Gallery
2006 - Niterói RJ - Poetic Shelter: dialogues with Lygia Clark, Museum of Contemporary Art
2006 - New York (USA) - Tropicália: a revolution in Brazilian culture, The Bronx Museum of the Arts
2006 - Recife PE - Modern Art in Context: ABN AMRO Real collection, Instituto Cultural Banco Real
2006 - Rio de Janeiro RJ - Modern Art in Context: ABN AMRO Real collection, Museum of Modern Art
2006 - Rio de Janeiro RJ - A Century of Brazilian Art - Gilberto Chateaubriand Collection, Museum of Modern Art
2006 - São Paulo SP - Modern Art in Context: ABN AMRO Real collection, Banco Santander
2006 - São Paulo SP - Concrete '56: the root of form, Museum of Modern Art
2006 - São Paulo SP - Lygia Clark, from Object to Event: we are the mold, you supply the breath, Pinacoteca do Estado
2006 - São Paulo SP - MAM at the Oca, Oca
2006 - São Paulo SP - Radical Maneuvers, Centro Cultural Banco do Brasil
2006 - São Paulo SP - Brushstroke – Painting and Method: projections of the 1950s, Instituto Tomie Ohtake
2006 - São Paulo SP - A Century of Brazilian Art - Gilberto Chateaubriand Collection, Pinacoteca do Estado
2007 - Belo Horizonte MG - Binary: collection and holdings, Museu de Arte da Pampulha
2007 - Curitiba PR - A Century of Brazilian Art - Gilberto Chateaubriand Collection, Oscar Niemeyer Museum
2007 - Niterói RJ - Oscar Niemeyer: architect, Brazilian, citizen, MAC-Niterói
2007 - New York (USA) - New Perspectives in Latin American Art, 1930-2006: selections from a decade of acquisitions, Museum of Modern Art
2007 - Ribeirão Preto SP - E: conjunction - connection, Galeria de Arte Marcelo Guarnieri
2007 - Rio de Janeiro RJ - Tropicália: a revolution in Brazilian culture, Museum of Modern Art
2007 - Salvador BA - A Century of Brazilian Art - Gilberto Chateaubriand Collection, Museu de Arte Moderna da Bahia
2007 - São Paulo SP - The 70s - Art as Question, Instituto Tomie Ohtake
2007 - São Paulo SP - Art and Audacity - Brazil in the Sattamini Collection, São Paulo Museum of Art
2007 - São Paulo SP - Glance: Latin Americans from MAC USP at the Memorial, Galeria Marta Traba
2007 - São Paulo SP - The Kinetic(s), Instituto Tomie Ohtake
2008 - Albany (USA) - Latin American and Caribbean Art: Selected Highlights from the Collection of the Museum of Modern Art, New York State Museum
2008 - Stockholm (Sweden) - Time & Place: Rio de Janeiro 1956-1964, Moderna Museet
2008 - New York (USA) - Arte No Es Vida: actions by artists of the Americas, 1960-2000, El Museo del Barrio
2008 - São Paulo SP - Ties of the Gaze, Instituto Tomie Ohtake
2008 - São Paulo SP - MAM 60, Oca
2008 - São Paulo SP - When Lives Become Form: dialogue with the future Brazil-Japan, Museum of Modern Art
2008 - Zurich (Switzerland) - Face to Face - The Daros Collections, Part 2, Daros Exhibitions
2009 - Mexico City (Mexico) - Arte Vida: acciones por artistas de las Américas, 1960-2000, Museo de Arte Carrillo Gil
2009 - Houston (USA) - North Looks South: building the Latin American Art Collection, The Museum of Fine Arts
2009 - Madrid (Spain) - 28th ARCO
2009 - Madrid (Spain) - Materia Gris, Galería Cayón
2009 - São Paulo SP - Concrete Dialogue: design and constructivism in Brazil, Caixa Cultural
2009 - Zurich (Switzerland) - Hot Spots: Rio de Janeiro / Milan - Turin / Los Angeles, Kunsthaus Zürich
2010 - Porto Alegre RS - Drawing in Space: abstract artists from Brazil and Venezuela in the Patrícia Phelps de Cisneros collection, Iberê Camargo Foundation
2010 - Rio de Janeiro RJ - Genealogies of the Contemporary, Museum of Modern Art
2010 - Santander (Spain) - Río Experimental: beyond art, poetry, and action, Espacio da Fundación Marcelino Botín
2010 - São Paulo SP - Drawing in Space: abstract artists from Brazil and Venezuela in the Patrícia Phelps de Cisneros collection, Pinacoteca do Estado
2010 - São Paulo SP - Around Here, Forms Became Attitudes, Sesc
2010 - São Paulo SP - First and Last, Notes on the Monument, Galeria Luisa Strina
2010 - São Paulo SP - 6th SP-Arte, Biennial Foundation
2010 - São Paulo SP - Versions of Modernism, Instituto de Arte Contemporânea
2011 - New York (USA) - Playing With Form: neo-concrete art from Brazil, Dickinson
2011 - Porto Alegre RS - Iberê Camargo and the Post-War Cultural Environment, Iberê Camargo Foundation
2011 - Rio de Janeiro RJ - That’s the Way!, Museum of Modern Art
2011 - São Paulo SP - Modernisms in Brazil, Museum of Contemporary Art of the University of São Paulo
2011 - São Paulo SP - Order and Progress: constructive will in Brazilian art, Museum of Modern Art
2011 - São Paulo SP - 7th SP-Arte, Biennial Pavilion
2012 - São Paulo SP - Lygia Clark: a retrospective, Instituto Cultural Itaú