Wesley Duke Lee

Wesley Duke Lee (São Paulo SP 1931 – idem 2010)

Wesley Duke Lee was a draftsman, printmaker, graphic artist, and teacher. In 1951, he took a free drawing course at the São Paulo Museum of Art Assis Chateaubriand (MASP). The following year, he traveled to the United States, where he studied at Parsons School of Design and the American Institute of Graphic Arts in New York until 1955. During this period, he witnessed the early manifestations of Pop Art and encountered works by artists such as Robert Rauschenberg (1925–2008), Jasper Johns (1930), and Cy Twombly (1928–2011).

Returning to Brazil in 1957, he left advertising to study under the painter Karl Plattner (1919–1989), working with him in São Paulo and later in Italy and Austria until 1960. During this phase, he also lived in Paris, attending the Académie de la Grande Chaumière and the studio of Johnny Friedlaender (1912–1992). He returned to Brazil in 1960.

In 1963, he began collaborating with young artists including Carlos Fajardo (1941), Frederico Nasser (1945), José Resende (1945), and Luiz Paulo Baravelli (1942), among others. That same year, he staged O Grande Espetáculo das Artes at João Sebastião Bar in São Paulo, considered one of Brazil’s first happenings. He sought to organize the artistic movement known as magical realism alongside Maria Cecília (1928), Bernardo Cid (1925–1982), Otto Stupakoff (1935–2009), Pedro Manuel-Gismondi (1925–1999), and others.

In 1966, he founded Grupo Rex with Nelson Leirner (1932), Geraldo de Barros (1923–1998), José Resende, Carlos Fajardo, and Frederico Nasser as a critical response to the art market. The group remained active until 1967.

Critical Commentary

Wesley Duke Lee is a pioneer in integrating Pop themes and language in Brazil. In 1963, he co-created the magical realism movement with Marcia Cecília, Pedro Manuel-Gismondi, Otto Stupakoff, and Carlos Felipe Saldanha. The figurative aspect of the movement offered an alternative to the academic approach to abstraction in Brazil.

Also in 1963, he mentored artists such as Carlos Fajardo, Frederico Nasser, José Resende, and Luiz Paulo Baravelli. Duke Lee worked closely with these students for about two years. During this period, his painting evolved from flat compositions to three-dimensional spaces. Works such as O Trapézio or Uma Confusão (1966) and O Helicóptero (1967) were already conceived as immersive environments. In 1969, he lived in California, experimenting with new technologies and teaching at the University of Southern California in Irvine. During the 1970s, he engaged with other traditions, including cartography, Eastern calligraphy, and botanical illustration.

Reviews

"The paintings and drawings of this young Brazilian artist reveal, at first glance, a rare array of qualities: a refined sensitivity, technical mastery, and a complex taste that reflects intelligent preparation. There is a continuous osmosis between references to reality and those drawn from culture, in these clearly and lovingly defined images. This is the immediate fulcrum of the real, suddenly filtered through the plane of fantasy and cultural memory, providing stylistic elements most suited to the character of the image. It is a refined divertissement, if not the most elegant irony, which then unfolds into a serious poetic endeavor aimed at giving precise and original form to the inventions and variations of the 'figure' inspired by dream, intellectual flair, or almost venomous sensuality. References to Redon, the great Viennese Secessionists, Klee, Michaud, and Schwitters can be made effortlessly—not as a claim to eclectic refinement, but as a linguistic support for a coherent discourse that ties these references to reality and nature."

Franco Russoli
RUSSOLI, Franco. Exhibition Introduction, Galleria Sistina – Milan, April 1963. In: COSTA, Cacilda Teixeira da. (ed.). Antologia Crítica de Wesley Duke Lee. São Paulo: Galeria Paulo Figueiredo, 1981, pp. 14-15.

"Those who visited the Tokyo Biennale this year must have been surprised by the nine unusual paintings in the Brazilian Section.

Informal touches, lines of varying strength, and bright colors are combined in constructions of female bodies symbolizing animals and plants. Several sections of the paintings are left blank, where letters and words are inscribed. One painting, called A Zona: abre, includes a preserved fig leaf inside a plastic sleeve over the genitals of a reclining woman. Another, A Zona: mindah!, has a transistor radio embedded in its frame. Until then, I knew little about modern Brazilian art, having seen only earlier biennial entries such as Fauvist-style nudes, loose woodcut copies, and abstract geometries in the manner of Max Bill (1908–1994), and I had not held these works in high regard.

I must say that, for the first time, the aforementioned works by Wesley Duke Lee from his Zona series succeeded in expressing a national characteristic of Brazil: a melting pot where Indigenous peoples, Africans, and Europeans—mostly of Portuguese descent—blend; a strange mix of the primitive and the modern; a land of vast constructions and rapid industrialization, with cannibals living against the mysterious backdrop of the Amazon.

Through his relaxed style, Wesley Duke Lee conveys passion and ennui, laughter and modesty, all part of this unique civilization. The female faces in his paintings form strange signs, and his imagination brims with sensuality.

In his paintings, white spaces of nihilism seem to prevail, yet they are charged with spontaneity, spirit, and energy."

Ichiro Haryu
HARYU, Ichiro. Magical Realism. Exhibition Introduction, Tokyo Gallery, Tokyo, July 1965. In: COSTA, Cacilda Teixeira da. (ed.). Antologia Crítica de Wesley Duke Lee. São Paulo: Galeria Paulo Figueiredo, 1981, p. 17.

"Images of life and death, struggle and harmony succeed one another in Viagem à Grécia. This dialectic, however, does not represent an insoluble bipolarity, but the full development of the cosmogonic myth, since life and death, creation and destruction are equally new situations, demanding the renewal of the initial archetypal gesture.

If the world is a constant flow, a becoming, beginning and end must necessarily articulate dialectically: the struggle of youth and age, chaos and harmony intertwine, pursue each other throughout Wesley’s journey, partially resolving until encountering the integrating figure (the philosopher) and ultimate harmony (the Grail) in a long process activated by the feminine principle. As a symbol of birth and rebirth (initiation), the female image evolves from archetype (Kore, Great Mother) to stereotype (glamorized femininity), eventually becoming the embodiment of consciousness and participating in the hero's birth, the product of harmonizing youth and age.

Life and death play another role in Viagem à Grécia if one perceives in the work a representation of initiation rites. Some evident episodes—the armed struggle, the entry into the flowers—clearly manifest the death/birth axis. A death that does not signify an end but a transition to a new mode of life. A necessary return to Chaos to allow a new Creation. The discovery of the mysteries of human existence—sacred, sexual, death:

'Philosophically speaking, initiation corresponds to an ontological mutation of the existential regime. At the end of his trials, the neophyte enjoys an existence different from that before initiation: he becomes another.' (M. Eliade, apud: P. Vidal-Naquet, “Os jovens,” in J. Le Goff and P. Nora, História: novos objetos, Rio de Janeiro, 1976, p. 122.)

Temporality, creation, utopian projection, cosmogony, initiation. The mythic planes are multiple but exhibit an internal coherence, embodied in the first gesture.

The recovery of 'collective memory,' the journey through time (and Wesley merges multiple temporalities: the Greek pantheon, Leonardo’s helicopter, the Grail, contemporary symbols), far from being paralyzing barriers, affirm the constant possibility of transforming reality."

Annateresa Fabris
FABRIS, Annateresa. The Space of Myth. São Paulo: 1978. In: COSTA, Cacilda Teixeira da. (ed.). Critical Anthology on Wesley Duke Lee. São Paulo: Galeria Paulo Figueiredo, 1981, pp. 36-37.

"Wesley Duke Lee’s work is constructed through series that relate to techniques, materials, processes, and concepts unique to each. In counterpoint, concepts and the substance of form captured by the artist (sometimes in an intense narrative) are 'presented' in drawings, paintings, prints, environments, artist books, installations, and videos. One could say that poetry (in the broadest, original sense of the term) permeates these sequences, various representations of an essential concern: the mysteries of origin, the sacred, sexuality, and death. Wesley’s experimentalism permeates his being and creative process; yet a profound connection underlies these variations and guides their modifications.

Thus, throughout his work, in different forms of imagery, he modifies traditional systems of representation, intensely exploring each available medium, from medieval tempera to the computer. All are fascinating to him, but none have meaning unless infused with concept—an act imbued with significance arising from the erotic presence of a deep truth. Wesley believes it is fundamental to adopt an ethical and integrative attitude that gives meaning to these perceptions.

As a teacher and mentor, his way of feeling and creating art spreads through Escola Brasil:, founded by his students. Consequently, despite his distance, he exerts strong influence within the arts and marks new generations with his singular approach."

Cacilda Teixeira da Costa
COSTA, Cacilda Teixeira da. Retrospective Wesley Duke Lee. In: LEE, Wesley Duke. Retrospective Wesley Duke Lee. Text by Cacilda Teixeira da Costa. São Paulo: Masp; Rio de Janeiro: Centro Cultural Banco do Brasil, 1992/1993, pp. 11, 33.

Testimonies

"That was never my intention; I was only showing what I was doing, my personal 'imaginary,' the product of my learning and experience.

Yet many people didn’t understand it, thinking it was anything-goes, causing quite a stir. I never meant to provoke such a strong reaction, which even had a negative effect on me. I wanted to connect with others, and instead I became more marginalized.

I can say with certainty that it is not easy to be marginal. However, what makes one an artist—the access you gain to certain states—automatically marginalizes you, and there is no way out.

It is a difficult position, causing immense confusion, until with age it begins to lose importance.

Still, I never stayed on the sidelines and am a deeply involved participant; yet I do not belong to the group (and joining it would be pointless, merely formal).

My goal, like any artist, is the 'colleagues': Van Gogh, Cézanne, Picasso, and Matisse—and that is not really a group, but a subjectivity.

Over time, I understood that segregation and the impossibility of assimilation are part of the process, and one must accept them. When younger, I resisted marginality (now I even joke about it).

At that time, moreover, it was the phase of the Series of Garter, considered highly pornographic. They thought I was a sexual deviant, obsessed with garters, and that was it.

I was cut from the Salon, the Biennale; no one wanted to exhibit my works. They didn’t understand—I allowed myself to break boundaries, to be free, and that was an incredible barrier.

What I did was not 'similar,' you understand?

So my only option was individual action. That is when the happenings occurred. I held the exhibition at João Sebastião Bar, because I had nowhere else to show my work, and there I 'committed' my inventions, placing lanterns at the entrance so visitors could see each painting individually, as the bar was very dark. It even provoked a police response, because the exhibition was erotic and so on."

Wesley Duke Lee
COSTA, Cacilda Teixeira da. Wesley Duke Lee. Rio de Janeiro: Funarte, 1980. (Coleção Arte Brasileira Contemporânea), pp. 20-21.

Solo Exhibitions

1961 - São Paulo SP - Solo exhibition at Galeria Sistina
1962 - São Paulo SP - Solo exhibition at Galeria Michel
1963 - Milan (Italy) - Solo exhibition at Galeria Sistina
1963 - São Paulo SP - Wesley Realista Mágico presents The Exhibition, at João Sebastião Bar (the first happening in Brazil)
1964 - Rio de Janeiro RJ - Wesley: Tempera and Drawings, at Petite Galerie
1964 - São Paulo SP - Pau Brasil, at Galeria Atrium
1964 - Vienna (Austria) - Solo exhibition at Nebehay Gallery
1965 - São Paulo SP - W.D. Lee, at Seta Galeria de Arte
1965 - Tokyo (Japan) - Wesley Duke Lee Exhibition, at Tokio Gallery
1968 - São Paulo SP - A Zona - Considerations: Portrait of Assis Chateaubriand, at MAC/USP
1970 - São Paulo SP - Botanical Iconography, at Galeria Ralph Camargo
1972 - São Paulo SP - Wesley Duke Lee: Three Books of Prints and a Sketchbook, at MASP
1975 - Exhibition of Drawings Created for the Annual Report of Financeiras Itaú
1976 - São Paulo SP - The Shadow Actions, at Galeria Luisa Strina
1976 - São Paulo SP - Solo exhibition at Galeria Luisa Strina
1977 - São Paulo SP - Solo exhibition at Galeria Luisa Strina
1977 - São Paulo SP - Wesley Exhibits Calligraphies, Ideograms, etc., at Galeria Luisa Strina
1978 - Rio de Janeiro RJ - Wesley Exhibits Calligraphies, Ideograms, etc., at Galeria Luiz Buarque de Hollanda and Paulo Bittencourt
1978 - São Paulo SP - My Journey to Greece in Leonardo da Vinci’s Helicopter, at MASP
1979 - Rio de Janeiro RJ - Paper Series, at São Paulo Stock Exchange
1979 - São Paulo SP - Paper Series, at Rio de Janeiro Stock Exchange
1979 - São Paulo SP - Paper Series, at Galeria Luisa Strina
1980 - Porto Alegre RS - Maps, at Galeria Salamandra
1980 - Ribeirão Preto SP - Papers, at Casa da Cultura de Ribeirão Preto
1980 - São Paulo SP - Anima Cartography, at Galeria Luisa Strina
1980 - São Paulo SP - Masterpiece from MASP, at Centro Campestre Sesc
1981 - São Paulo SP - Solo exhibition at Paulo Figueiredo Galeria de Arte
1986 - São Paulo SP - The Triumph of Maximilian I, at Escritório de Arte São Paulo
1991 - São Paulo SP - The Works of Eros: Preparation for the Annunciation of the Age of the Son, at Kate Art Gallery
1992 - São Paulo SP - Wesley Duke Lee Retrospective, at MASP
1993 - Rio de Janeiro RJ - Wesley Duke Lee Retrospective, at CCBB
1999 - São Paulo SP - O Filiarcado, Alchemical Essay with Children’s Games. Albedo, at Escritório de Arte São Paulo
1999 - São Paulo SP - O Filiarcado, Alchemical Essay with Children’s Games. Rubedo, at Escritório de Arte São Paulo
2000 - São Paulo SP - O Filiarcado, Alchemical Essay with Children’s Games. Nigredo, at Escritório de Arte São Paulo
2004 - São Paulo SP - Everything is Drawing, at CCSP
2005 - São Paulo SP - Wesley Duke Lee: Two Unpublished Series from the 1960s, at Pinacoteca do Estado
2006 - São Paulo SP - Solo exhibition at Valu Oria Galeria de Arte

Group Exhibitions

1952 - São Paulo SP - 2nd Paulista Salon of Modern Art, at Galeria Prestes Maia
1955 - São Paulo SP - 1st Advertising Salon of São Paulo - two honorable mentions
1961 - São Paulo SP - Visual Arts Group Exhibition: Solidarity with Political Prisoners in Spain and Portugal, at Galeria Prestes Maia
1961 - São Paulo SP - Group Exhibition, at Galeria Astréia
1962 - Madrid (Spain) - Art of America and Spain, at the Instituto de Cultura Hispánica de Madrid
1962 - São Paulo SP - Works from the Collection, at Galeria Sistina
1963 - Campinas SP - 1st Exhibition of Young National Drawing, at Centro de Ciências, Letras e Artes. Museu Carlos Gomes
1963 - São Paulo SP - 1st Exhibition of Young National Drawing, at FAAP
1964 - Belo Horizonte MG - 1st Exhibition of Young National Drawing, at Museu de Arte da Pampulha - MAP
1964 - Belo Horizonte MG - Phases, at UFMG. Main Gallery of the Rectorate Hall
1964 - Brussels (Belgium) - Phases, at Musée d'Ixelles
1964 - Curitiba PR - 1st Exhibition of Young National Drawing, at Museu de Arte do Paraná
1964 - Milan (Italy) - Group Exhibition, at Galleria Santa Maria di Piazza
1964 - Ribeirão Preto SP - 1st Exhibition of Young National Printmaking, at Escola de Artes Plásticas
1964 - Rio de Janeiro RJ - 2nd The Face and the Work, at Galeria Ibeu Copacabana
1964 - Rio de Janeiro RJ - The Nude in Contemporary Art, at Galeria Ibeu Copacabana
1964 - Rio de Janeiro RJ - Phases, at MAM/RJ
1964 - São Paulo SP - 1st Exhibition of Young National Printmaking, at MAC/USP
1964 - São Paulo SP - Art at IAB, at IAB/SP
1964 - São Paulo SP - Phases Exhibition, at MAC/USP
1964 - São Paulo SP - Tribute to the Galleries of São Paulo, at Sociedade Amigos da Cinemateca
1964 - Taubaté SP - Art Show, at Galeria Mobilia/Galeria Seta
1965 - Belo Horizonte MG - 1st Exhibition of Young National Printmaking, at MAP
1965 - Caracas (Venezuela) - Evaluation of Latin American Painting in the 1960s, at Museo de Bellas Artes
1965 - Curitiba PR - 1st Exhibition of Young National Printmaking, at Secretaria do Estado de Educação - 1st prize
1965 - Florianópolis SC - 1st Exhibition of Young National Printmaking, at MASC
1965 - L'Aquila (Italy) - Biennale of L'Aquila
1965 - London (UK) - Brazilian Art Today, at the Royal Academy of Arts
1965 - Rio de Janeiro RJ - Opinion 65, at MAM/RJ
1965 - São Paulo SP - 8th São Paulo International Biennial, at Fundação Bienal
1965 - São Paulo SP - Recent Acquisitions and Donations, at MAC/USP
1965 - São Paulo SP - Brazilian Graphics, at FAU/USP
1965 - São Paulo SP - PropostaS 65, at MAB/FAAP
1965 - Tokyo (Japan) - 8th Tokyo Biennale - International Art Promotion Award
1965 - Vienna (Austria) - Brazilian Art Today, at Museum für Angewandte Kunst
1966 - Asunción (Paraguay) - Art Today in Brazil, at Galeria da Missão Cultural Brasileira
1966 - Austin (USA) - Art of Latin America since Independence, at The University of Texas at Austin, Archer M. Huntington Art Gallery
1966 - Bonn (Germany) - Brazilian Art Today, at Beethovenhalle
1966 - London (UK) - Small Works: Paintings, Graphics, Sculpture, at Axion Gallery
1966 - New York (USA) - The Emergent Decade: Latin American Painters and Paintings in the 1960s, at Solomon R. Guggenheim Museum
1966 - Rio de Janeiro RJ - 1st April Salon, at MAM/RJ
1966 - Rio de Janeiro RJ - The Artist and the Machine, at MAM/RJ
1966 - Rio de Janeiro RJ - Supermarket 66, at Galeria Relevo
1966 - São Paulo SP - Warning: It’s War, at Rex Gallery & Sons
1966 - São Paulo SP - Discovery of America, at Rex Gallery & Sons
1966 - São Paulo SP - Flash Back, at Rex Gallery & Sons
1966 - São Paulo SP - Rex Gallery: Inaugural Exhibition, at Rex Gallery & Sons
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 - Venice (Italy) - 33rd Venice Biennale
1967 - Belgrade (Serbia and Montenegro) - Dimensions of the Real, at Galerija Doma Omladine
1967 - São Paulo SP - 9th São Paulo International Biennial, at Fundação Bienal
1967 - São Paulo SP - The Act of Creation, at Rex Gallery & Sons – in tribute to Marcel Duchamp
1968 - Campo Grande MS - 28 Artists from the Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Galeria do Diário da Serra
1968 - Florianópolis SC - 1st National Exhibition of Visual Arts, at MASC
1968 - Rio de Janeiro RJ - Brazilian Printmaking, at Museu Histórico Nacional - MHN
1968 - São Paulo SP - Group Exhibition, at Galeria Miani
1969 - Belém PA - 28 Artists of the New Generations, at UFPA
1969 - Fortaleza CE - 28 Artists from the Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Centro de Artes Visuais Raimundo Cela
1969 - São Paulo SP - 28 Artists of the New Generations, at MAC/USP
1969 - São Paulo SP - Pioneering Artists of Fantastic Art in Brazil, at Teatro Itália
1969 - Tokyo (Japan) - Dialogue Between the East and the West, at The National Museum of Modern Art
1970 - Campina Grande PB - 27 Artists from the Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Museu de Arte da Fundação Universidade Regional do Nordeste
1970 - Olinda PE - 27 Artists from the Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at MAC/Olinda
1970 - São Paulo SP - Fantastic Art, at Galeria Astréia
1970 - São Paulo SP - Fantastic Art, at Seta Galeria de Arte
1971 - Rio de Janeiro RJ - The Great Decade, Brazilian Abstractionism: Selected Works from 1955-1965, at Galeria Barcinsky
1971 - Rio de Janeiro RJ - Printmaking, at MAM/RJ
1972 - São Paulo SP - 2nd International Printmaking Exhibition, at MAM/SP
1972 - São Paulo SP - Art Brazil Today, at Banco Novo Mundo
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Galeria da Collectio
1972 - São Paulo SP - Group Exhibition, at A Galeria
1973 - Brasília DF - Museu de Arte de São Paulo Assis Chateaubriand in Brasília, at Ministry of Foreign Affairs, Palácio do Itamaraty
1973 - Brussels (Belgium) - Image of Brazil, at Manhattan Center
1974 - São Paulo SP - Galeria Luisa Strina: Inaugural Show, at Galeria Luisa Strina
1976 - Paris (France) - Brazil: 20th Century Artists, at Artcurial
1976 - Rio de Janeiro RJ - Preview 76, at Graffiti Galeria de Arte
1976 - São Paulo SP - Group Exhibition, at Galeria Luisa Strina
1978 - Caracas (Venezuela) - Four Brazilian Artists, at Banco do Brasil
1978 - São Paulo SP - The Object in Art: Brazil in the 1960s, at MAB/FAAP
1979 - São Paulo SP - Group Exhibition, at Galpão
1979 - São Paulo SP - Eros/Art Exhibition, at Galeria Arte Aplicada
1979 - São Paulo SP - Return to the Figure: the 1960s, at Museu Lasar Segall
1979 - Tokyo (Japan) - 24 Brazilian Contemporary Engravers Exhibition
1980 - Curitiba PR - 2nd Exhibition of Brazilian Drawing, at Teatro Guaíra
1980 - Santiago (Chile) - 20 Brazilian Painters, at Academia Chilena de Bellas Artes
1981 - Rio de Janeiro RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1981 - São Paulo SP - Brazilian Contemporary Artists, at Escritório de Arte São Paulo
1982 - Lisbon (Portugal) - Brazil: 60 Years of Modern Art, Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - Lisbon (Portugal) - From Modern to Contemporary: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (UK) - Brazil: 60 Years of Modern Art, Gilberto Chateaubriand Collection, at Barbican Art Gallery
1984 - London (UK) - Portrait of Country: Brazilian Modern Art from the Gilberto Chateaubriand Collection, at Barbican Art Gallery
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 Fundação Bienal
1985 - Rio de Janeiro RJ - Calligraphy and Writings, at Funarte, Galeria Sérgio Milliet
1985 - Rio de Janeiro RJ - Opinion 65, at Galeria de Arte Banerj
1985 - São Paulo SP - 100 Works Itaú, at MASP
1985 - São Paulo SP - 18th São Paulo International Biennial, at Fundação Bienal
1985 - São Paulo SP - The Art of the Imaginary, at Galeria Encontro das Artes
1985 - São Paulo SP - Trends in Artist Books in Brazil, at CCSP
1986 - São Paulo SP - Pedra Dura in Wet Water, It Hits Until It Lasts, at Museu da Casa Brasileira
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 19th São Paulo International Biennial, at Fundação Bienal
1987 - São Paulo SP - The Fabric of Taste: Another Look at Everyday Life, at Fundação Bienal
1987 - São Paulo SP - Magical Word, at MAC/USP
1988 - New York (USA) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at The Bronx Museum of the Arts
1988 - São Paulo SP - 63/66 Figure and Object, at Galeria Millan
1989 - El Paso (USA) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at El Paso Museum of Art
1989 - Recife PE - Memory Game
1989 - Rio de Janeiro RJ - Memory Game, at Montesanti Galleria
1989 - Rio de Janeiro RJ - Yesterday, Today, Tomorrow, at Galeria do Centro Empresarial Rio
1989 - San Diego (USA) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at San Diego Museum of Art
1989 - San Juan (Puerto Rico) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at Instituto de Cultura Puertorriqueña
1989 - São Paulo SP - 20th São Paulo International Biennial, at Fundação Bienal
1989 - São Paulo SP - 20th Panorama of Contemporary Brazilian Art, at MAM/SP
1989 - São Paulo SP - São Paulo Gallery Collection, at Escritório de Arte São Paulo
1989 - São Paulo SP - Memory Game, at Galeria Montesanti Roesler
1989 - São Paulo SP - Memory Game, at Galeria Montesanti Roesler
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Curitiba PR - 1st Brazilian Design Biennale
1990 - Miami (USA) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at Center for the Fine Arts Miami Art Museum of Date
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Rio de Janeiro RJ - Indigenous Traps, at Funarte
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - São Paulo SP - Indigenous Traps, at MASP
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Venice (Italy) - 44th Venice Biennale
1991 - São Paulo SP - What Are You Doing Now, Generation 60?: Revisiting Young Art of the 1960s, at MAC/USP
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Casa de Cultura de Poços de Caldas
1992 - São Paulo SP - The Seduction of Volumes: 3D Works from MAC, at MAC/USP
1992 - São Paulo SP - 1960s/70s: Gilberto Chateaubriand Collection - MAM/RJ, at Galeria de Arte do Sesi
1992 - São Paulo SP - Dominant White, at Escritório de Arte São Paulo
1993 - Rio de Janeiro RJ - Brazil, 100 Years of Modern Art, at MNBA
1993 - Rio de Janeiro RJ - Body Emblems: The Nude in Modern Brazilian Art, at CCBB
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1993 - São Paulo SP - Works for Illustration of the Literary Supplement: 1956-1967, at MAM/SP
1994 - Belo Horizonte MG - The Ephemeral in Brazilian Art: 1960s/70s
1994 - Penápolis SP - The Ephemeral in Brazilian Art: 1960s/70s, at Itaugaleria
1994 - Poços de Caldas MG - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, at Casa da Cultura
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, at MAM/RJ
1994 - Rio de Janeiro RJ - Via Fax, at Museu do Telephone
1994 - São Paulo SP - Brazil 20th Century Biennial, at Fundação Bienal
1994 - São Paulo SP - The Ephemeral in Brazilian Art: 1960s/70s, at Itaú Cultural
1994 - São Paulo SP - Senses: A Sensitive Look at Contemporary Art, at Renato Magalhães Gouvêa Escritório de Arte
1995 - Rio de Janeiro RJ - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, at MAM/RJ
1995 - Rio de Janeiro RJ - Opinion 65: 30 Years, at CCBB
1995 - São Paulo SP - Artist Collectors, at Valu Oria Galeria de Arte
1996 - Brasília DF - The Ephemeral in Brazilian Art: 1960s/70s, at Itaugaleria
1996 - São Paulo SP - 4th Studio Unesp, Sesc, Senai of Image Technologies, at Sesc Pompéia
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
1997 - São Paulo SP - Phases: Surrealism and Contemporary Art - Austral and Southern Cone Group, at MAC/USP
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - Elective Affinities I: The Collector’s Gaze, at Casa das Rosas
1998 - São Paulo SP - Seventies Decade, at Galeria de Arte São Paulo
1998 - São Paulo SP - Highlights from the Unibanco Collection, at Instituto Moreira Salles
1998 - São Paulo SP - Figurations: 30 Years of Brazilian Art, at MAC/USP
1998 - São Paulo SP - Modern and Contemporary Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - São Paulo SP - Featured Works, at Dan Galeria
1999 - Rio de Janeiro RJ - Everyday/Art. Object 1960s/90s, at MAM/RJ
1999 - São Paulo SP - Everyday/Art. Object 1960s/90s, at Itaú Cultural
1999 - São Paulo SP - Transcendences: Boxes of Being, at Casa das Rosas
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, at Fundação Calouste Gulbenkian. Centro de Arte Moderna José de Azeredo Perdigão
2000 - São Paulo SP - Ars Erótica: Sex and Eroticism in Brazilian Art, at MAM/SP
2000 - São Paulo SP - Brasil + 500 Mostra do Redescobrimento: Contemporary Art, at Fundação Bienal
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, at MAB/Faap
2002 - Fortaleza CE - Ceará Redescobre o Brasil, at Centro Dragão do Mar de Arte e Cultura
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC-Niterói
2002 - Rio de Janeiro RJ - Paths of the Contemporary, at Paço Imperial
2002 - Rio de Janeiro RJ - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - São Paulo SP - Mapa do Agora: Recent Brazilian Art in the João Sattamini Collection of the Museu de Arte Contemporânea de Niterói, at Instituto Tomie Ohtake
2003 - Rio de Janeiro RJ - Grupo Rex/Escola Brasil, at MAM/RJ
2003 - São Paulo SP - The Subversion of Means, at Itaú Cultural
2003 - São Paulo SP - Approximations of the Pop Spirit: 1963-1968, at MAM/SP
2003 - São Paulo SP - Artknowledge: 70 Years USP, at MAC/USP
2003 - São Paulo SP - Aesthetics of the Fluid, at MAM/SP - Espaço MAM - Villa-Lobos
2004 - São Paulo SP - Contemporary Art in the Municipal Collection, at CCSP
2004 - São Paulo SP - New Acquisitions: 1995 - 2003, at MAB/Faap
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
2004 - São Paulo SP - São Paulo 450 Years: The Image and Memory of the City in the Instituto Moreira Salles Collection, at Centro Cultural Fiesp
2004 - São Paulo SP - Everything is Drawing, at CCSP
2005 - São Paulo SP - 10 Years of a New MAM: Anthology of a Collection, at MAM/SP
2005 - São Paulo SP - Erotica: The Senses in Art, at CCBB
2005 - São Paulo SP - Ship of Fools, at MAC/USP
2005 - São Paulo SP - The Body in Contemporary Brazilian Art, at Itaú Cultural
2005 - São Paulo SP - The Portrait as an Image of the World, at MAM/SP
2006 - Rio de Janeiro RJ - Erotica: The Senses in Art, at CCBB