Antonio Dias

Antonio Dias (Campina Grande, Paraíba, 1944 - Rio de Janeiro, 2018)

Antonio Dias was a multimedia artist who demonstrated an early interest in art, learning basic drawing techniques from his grandfather. In the late 1950s, now in Rio de Janeiro, he worked as an architectural and graphic designer, furthering his artistic training at the Free Engraving Studio of the National School of Fine Arts, under the guidance of Oswaldo Goeldi. In the 1960s, his works began to incorporate words and phrases, a characteristic that became a hallmark of his work.

In 1965, Antonio Dias received a scholarship from the French government, which led him to reside in Paris until 1968, before moving to Milan, where he established his studio. In 1971, he released the album Record: The Space Between and began the series The Illustration of Art, demonstrating his versatility and constant experimentation. The following year, he received a Simon Guggenheim Foundation fellowship to work in New York, strengthening his international presence. His trip to India and Nepal in 1977 was fundamental to the beginning of a new phase, in which he began using handmade paper as a support for his works, exploring texture and pigment mixing in innovative ways.

In Kathmandu, he published the album Tramas, composed of woodcuts that reflected his research with traditional materials and processes. In 1988, Antonio Dias was awarded a scholarship from the German Academic Exchange Service (DAAD) and moved to Berlin. In the following years, he also dedicated himself to training new artists, becoming a professor at the Sommerakademie für bildende Kunst in Salzburg and later at the Staatliche Akademie der bildenden Künste in Karlsruhe, Germany. His career is marked by constant reinvention and the ability to transition between languages, cementing his name among the great contemporary Brazilian artists.

The art of contestation

"Today, I work occasionally. I'm not interested in the act of painting itself. Painting bores me. I only paint out of a need to express myself. I consider painting a profession. But if they want to assert painting as a daily job, then I'm not a professional." This statement, coming from a dedicated and renowned artist, might even sound like heresy. Antonio Dias made it during an exhibition held in Belo Horizonte, Minas Gerais, in 1966. Discouragement or disillusionment with the visual arts? Denial of the work accomplished? Nothing of the sort. Just a feeling characteristic of avant-garde painters, in which the present is merely a platform for altering the future, betraying the inner need for constant mutation. The most important thing is not what has been done, but what has yet to be done and which will inevitably be the rupture with the present. The pursuit of the unattainable and his eternal nonconformity, combined with talent and professionalism, are what made this painter one of the most important figures in contemporary painting, with works featured in museums around the world.

The Awakening of an Artist

Antonio Dias was born in Campina Grande, Paraíba, in 1944. The harsh and uncertain circumstances of life in the Northeast made him and his family nomadic, as the first years of his life were spent wandering from one town to another, in the backlands of Alagoas, along the coast, and also in the states of Alagoas and Pernambuco. He learned the basics of drawing from his grandfather and, as a child, managed to give practical meaning to art to earn a few bucks, even designing labels for beverages. At 14, he moved to Rio de Janeiro, seeking admission to an elementary school, and the following year he found his first job as a draftsman, while also participating in the Free Engraving Studio at the National School of Fine Arts. In 1962, he participated in his first exhibition at the National Salon of Modern Art, still with well-behaved works, faithfully following the modernist trends of the time. This submissiveness would not last long.

A Rebel Is Born

The doors were completely opened to him when he participated in the 20th Paraná Salon of Visual Arts, where he not only received the gold medal but also the drawing acquisition prize. Thus, the honor came with timely money. But the most important thing was the contact with young people: "I dropped everything and set out to meet people my own age." Until then, I had only hung out with people older than me; I was a bit of a restraint." The young generation of the sixties was privileged to experience significant moments in national life, but at the same time, they had to endure moments of perplexity between the ideals they held within them and the imposed concepts of political correctness. This duality of thought struck the artist hard, and he began to paint the human being in an x-ray: viscera, the wounded human being, the contradiction between justice and force, bringing his work tools to a total political engagement. This political vision of art has accompanied him throughout time: "I felt trapped and suddenly discovered that thousands of young people were fighting for liberation, fighting to create something that would result from their ideas and their relationships with the world.

On the paths of life

Unintentionally, and without planning, Antonio Dias became a leader and a benchmark for the young artists of his time. But the Brazilian political situation grew more tense year by year, and in 1967, he moved to Paris, where he had visited for the first time two years earlier, participating in an exhibition. Politically, Paris was also not experiencing a time of peace and tranquility. After a series of student conflicts, kept under control, a major student revolt broke out in the Latin Quarter, lasting several weeks and even challenging the Fifth French Republic. The painter then moved to Italy, setting up his studio in Milan, where he lived for twenty years. Finally, in 1988, he moved to Cologne, Germany, where he still lives today. Antonio Dias was one of the rare avant-garde artists who, practicing an art of defiance, risked establishing a foothold in Europe, and succeeded.

Painting Without Limits

Antonio Dias' art is a constant challenge to convention. His paintings do not obey the elementary rules of two dimensions. In some of them, height, length, and depth are used as measurements. In most of his works, the artist appeals to three-dimensionality, using plaster, collage, and every resource at his disposal. Mixed media, a generalized expression that in itself means nothing, in his hands gains a diversity that reaches paroxysms: relief in clay, collage on fabric, iron oxide, graphite, pigments of all kinds, which mix and combine. The important thing is never to be the same; the essential thing is to change constantly. Experience is his very soul: he appeared in films, recorded albums, and traveled to India, Tibet, and Nepal to learn about various subjects, such as handmade papermaking or the preparation of pigments from plants. He immersed himself in ancient processes hidden in the deepest mysteries of Asia. All of this earned him worldwide recognition, with his name mentioned and his works included in the collections of the world's leading contemporary art museums. In Cologne, Germany, he lives with his wife, the Italian-Brazilian opera singer Lica Secato. If his entire body of work weren't enough, Antonio Dias is important in contemporary art for having participated in and, involuntarily, led a revolution in the visual arts, reversing the earth's rotation and shaking, like an earthquake, traditionally accepted values.

Criticism

"The diversity of Antonio Dias's works, whether in painting, sculpture, or the use of records or videotapes, is situated in a space where the artist can no longer conform to pre-established rules. It is in the experience of modernity that, with cunning, his work emerges. (...) In this new space, where all cats are gray, the process of producing the work becomes an important point of reference. Dispersion and diversification guided by poetic coherence maintain the unsystematic character of the various interventions and productions. This has been one of the hallmarks of Antonio Dias's work. When we approach one of his creations, we need a certain squint: one eye on what is on display, the other on formulated problem. (...) If certain artists decided to prolong the gesture of tradition, that is, repetition, Dias claimed and radically practiced the right to rupture. This without the subterfuges and easy shortcuts of behavioral changes, but with the transfer of an ethic based on the reasons for his own work. (...) Many of his works, in their theme, condense the entire skeleton that supports the essential production of our time."
Paulo Sérgio Duarte
DUARTE, Paulo Sérgio. The cunning of always remaining new. Arte Hoje, Rio de Janeiro: Rio Gráfica e Editora, v. 1, n. 4, p. 31, Oct. 1977.

"The impossibility of the Work, the possibility of art—this contradiction governs Antonio Dias's operation to such an extent that, mimicking the philosopher, we could call it a Cunning of Art. The artist's reasoning traverses the inaugural created gesture to follow the problematic path of the work in the world. The result, this, will constitute the work of art. It will ultimately be the sum, or rather, the residue, of all mediations: with intentions denied, forms violated, contents deciphered and distorted, only then does the work of art appear in the full sense of the term. And in this way, it presents itself as the opposite of the pure, metaphysical unveiling of the Idea: what the work brings is a magnetic charge of encounters and conflicts, constructions and destructions, decisions and indecisions. (...)
And, in my view, it was precisely the pressure to re-empower the modern emancipatory project that compelled the artist to seek out thick, averse, and resistant to modern tradition. Only the singular and 'arbitrary' act, unintelligible to the scientific approach, of recovering the moment of prehistory and nature, only an 'unproductive' investigation of this order, could maintain contemporary art in the register of the Present, against the various archaisms in fashion, the persistent obscurantisms always lurking. (...) And the final prevalence, amid so many expressive nuances, of a certain graphic, anti-pictorial order, reiterates the work's cunning. It is further proof of its allergy to immediate identifications and empathies. With every eventual explosion of the imaginary, colors and spots play a discreet role here, acting as signals between procedures that aim above all at conceptual articulations. In fact, they would be, let's say, functionally visceral, functionally chaotic. The literary charge of the signs, on the other hand, is negated by their obscure and cryptic visuality, which thus escapes repeated attempts at naming. The The saturated and heterogeneous surface, with the promiscuous marks of 'caves' and 'pop,' reveals the excessively historical condition of the work. And also its resolve to house and reinvest all the memories, erosions, and scars of modernity. These historical fragments would be the elements of Antonio Dias's contemporary, rational, and convulsive narrative. On the border between the combinatorial and the random, this narrative somehow follows the highly complex and abstract reasoning of the current world, its relentless and indiscriminate logic. But the work's mode of individuation is the antithesis of the technical production process. In this, the series entirely subsumes the object and grants it a strict functional identity. Antonio Dias's 'open' seriality, on the contrary, poses a dilemma for the individual existence of each work and for the cohesion of the whole. Truth always seems to be where we are not looking for it—it flows between the ironic and elusive presence of the works and also refuses to be captured as an a priori ideal scheme. Truth lies in this movement, in this difference, between the presence of the work and its conceptual intelligence. In this network of connections, at once rigorous and equivocal, the only truth is the dilemma of truth."
Ronaldo Brito
BRITO, Ronaldo. Antonio Dias. Rio de Janeiro: Grafit, 1985. n. p.

"His entry into the art circuit began early. At just 20 years old, he held his second solo exhibition in Rio de Janeiro, presented by the French critic Pierre Restany. He subsequently won the painting prize at the Paris Biennale. Dias can be defined as a multi-media artist: from the 1960s to the present, he has created video, photography, installations, comics, sound works, artist's books, Super-8, graphic arts... Early in his career, he enjoyed the patronage of Corneille, of the Cobra Group - a stance he would adopt when introducing 'new talents' to dealers (Leonilson being the best-known case). (...)
In fact, Dias became famous for the series of papers produced in Nepal - the result of a five-month project, practically in the jungle, with twenty-five workers from four different tribes, investigating different formats and unusual materials, such as tea, clay, etc. He says that, in the village, while a round piece of paper was simply called a 'galô' (meaning circle), several of these collected papers were revered as the name 'Niranjanijakhar' (translating as sky, infinity; Buddha, ultimately). Thus, by chance, Dias discovers that he had materialized a religious feeling through the intensity of the veil in that territory. It is not enough to be a traveler who collects postcards. The lesson learned through 'Niranjanijakhar' is that the history of Antonio Dias' work, even if it makes a foray into the world, is always the history of Antonio Dias himself, a subject viscerally committed to his experience. Concerned with disciplining autobiographical references, Dias encapsulates, in his creative process, a chemistry laden with ambiguities. Here, 'revolution,' 'father,' and 'violence' are themes driven by an intimate motor, but which transcend the cathartic impulse: 'I don't want to be didactic because I don't want to give anyone my humanoid percentage. My painting preserves a certain hermeticism in which the secret must remain secret.' For writing about art implies precisely traversing the appearance of the painting. While the gaze cast upon the work belongs to the viewer's register, the register upon the world is imbued with a very particular voyeurism. The mechanism of this voyeuristic gaze contains a hermetic charge that no literature can reconstruct."
Lisette Lagnado
LAGNADO. Lisette. Antonio Dias/Discurso Amoroso. In: Galeria/Revista de Arte, 15 São Paulo 1989. p. 71-72.

"A precocious talent, he knew, after first developing a painting evoking Klee, affinities with Tàpies and lyrical abstractionism, how to abandon this orientation. From 1963 onward, he changed the direction of his poetics, opting for an autobiographical art. His production is that of a mosaicist, of photomontages, bringing together an imaginary of terrors, destruction, anatomy, and sex. His initiation into this new direction was through drawing, which explains the persistence of graphic values ​​of dividing spaces and fragmented forms in their alveoli, or macromosaics, observable in *Fumaça do Prisioneiro*.
Contrary to the lines of expressionism, the artist was not bound by compulsiveness in the operation of artistic creation; through the colder graphic medium, he clarified his previous discourse. He made, however, concessions to the subjective and compact flow of images, maintaining them amalgamated, but not confused, perfectly identifiable in their fragmentation. In the insistence of visualizing these pieces of lacerated flesh and bones, in their personal narratives, they composed a comic strip—fierce and raw—of the harshness of the Northeastern backlands taken to the extremes of life and death, passion and violence, sex and carnage.
Daisy Valle Machado Peccinini de Alvarado
ALVARADO, Daisy Valle Machado Peccinini. Figurations in Brazil in the 1960s: Fantastic Neofigurations and Neo-Surrealism, New Realism and New Objectivity. São Paulo: Itaú Cultural: Edusp, 1999. p. 120-121.

"Our inquiry, therefore, turns to Dias's historical place as one of the main links between three fundamental generations of Brazilian art: modernism, neoconcretism, and the artists of the 1970s. Dias's work is thus a nexus between these different positions. First and foremost, he was a student of Oswaldo Goeldi, the modernist engraver who came to be seen by many as the ethical standard of the Brazilian artist. Goeldi's melancholy would correspond to what is considered aridity in Dias's work, who inherited from his master the ability to balance dense pathos and graphic rigor. If modernism sought to define a Brazilian self, neoconcretism resorted to Gestalt theory to investigate phenomenological perception. The processes of subjectivation, explored by Lygia Clark, would eventually encompass the fantasmatic, while Oiticica's work was grounded in the 'marginal subject.' From this perspective, Dias was able to shift the crisis from the subject to the linguistic subject and for the artist, not only as a creator of language, but in his political role as producer.
Antonio Dias is also the main link between the Neoconcretists and the artists of the 1970s: between Hélio Oiticica and Cildo Meireles, Lygia Clark and Tunga, the non-objects and Waltércio Caldas, not distancing himself from Ivens Machado and Iole de Freitas, or even those who worked alongside Cildo in the 1960s, such as Barrio, Raimundo Collares, and Antonio Manuel. Dias tempers the presence of the word between conceptual art and the tradition of concrete poetry. He is found elaborating on the phenomenology of perception and the traumatic recovery of the subject. He responds to violence through politicization and the stripping away of its materials. (...)
For Antonio Dias, art is a social practice, encompassing its production and circulation as a commodity, and the social critique of the process of institutionalization, as in the series The Illustration of Art (1971-78). Political nonconformism finds its diagram in the critical reevaluation of the meaning of form itself, and therefore of language as a social field. They are signs of resistance and of a production that rejects the idealistic parameters of mere 'engaged art.' The discovery of Martin Gadner's The Annotated Alice (1960) marked an 'epistemological break' in Dias's gaze. 'My readings are not exactly economics: symbolic logic, mathematics, science, things that make me imagine plastic situations (...). What really struck me,' the artist continues, 'was an article by Robert Smithson. The question of sites and non-sites was interesting. I used maps of non-places from Lewis Carroll.' To redefine the status of the object, Dias plays chess with Duchamp through Alice.
Paulo Herkenhoff
DIAS, Antonio. Antonio Dias. São Paulo: Cosac & Naify, 1999. p. 27 and 30.

Testimonials

"I work with a very simple visual vocabulary. Let's say I have a surface: first, there's nothing that defines it. To do so, I need to create a distinction. You can determine it, for example, through logic: by drawing a dividing line on this surface, the difference is created. In painting, I've always had in mind the image of the painting as a thin object that, as a physical body, has its place on the wall. For me, it's more than simply a two-dimensional surface of representation; it is, as matter, as physical as anything else. So what I seek is to create a relationship between the matter of the object and the matter that the observer brings with them during the experience of observing. They see something beyond, in the painting. Perhaps they see something that shows them something I didn't know was there. My idea was to represent something that is simultaneously being and not-being; that which cannot be described by another communication system. I told myself: to make this visible, I will have to suppress part of this (...)"
Antonio Dias
DIAS, Antonio. Antonio Dias: obras = Arbeiten = works: 1967-1994. Ostfildern: Cantz, 1994

Solo Exhibitions

1962 - Rio de Janeiro RJ - Solo, Galeria Sobradinho
1964 - Rio de Janeiro RJ - Solo, Galeria Relevo
1965 - Paris (France) - Solo, Galerie Houston-Brown
1966 - Belo Horizonte MG - Solo, Galeria Guignard
1967 - Paris (France) - Solo, Galeria Debret
1967 - Rio de Janeiro RJ - Solo, Galeria Relevo
1967 - Rotterdam (Netherlands) - Solo, Galeria Delta
1968 - Berlin (Germany) - Solo, Galeria Hammer
1968 - Rotterdam (Netherlands) - Solo, Galeria Delta
1969 - Brescia (Italy) - Solo, Galleria ACME
1969 - Milan (Italy) - Solo, Studio Marconi
1969 - Padua (Italy) - Solo, Galeria La Chiocciola
1970 - Ghent (Belgium) - Solo, Galerie Richard Foncke
1971 - Brescia (Italy) - Solo, Studio Marconi
1971 - Milan (Italy) - Solo, Galeria Breton
1972 - Basel (Switzerland) - Solo, Galleria Stampa
1972 - Bolzano (Italy) - Solo, Galleria Da Vinci
1972 - Milan (Italy) - Solo, Galleria Franco Toselli
1972 - Rio de Janeiro RJ - Solo, Veste Sagrada
1973 - Basel (Switzerland) - Solo, Galerie Stampa
1973 - Brussels (Belgium) - Solo, Galeria Albert Baronian
1973 - Buenos Aires (Argentina) - Solo, Centro de Arte y Comunicación - CAYC
1973 - Rio de Janeiro RJ - Solo, Bolsa de Arte
1973 - São Paulo SP - Solo, Galeria Ralph Camargo
1973 - Vienna (Austria) - Solo, St. Stephan Galerie
1974 - Brescia (Italy) - Solo, Nuovi Strumenti/Piero Cavellini
1974 - Rio de Janeiro RJ - Solo, MAM/RJ
1976 - Brescia (Italy) - Solo, Galleria Nuovi Strumenti/Piero Cavellini
1976 - Brussels (Belgium) - Solo, Galerie Albert Baronian
1976 - Brussels (Belgium) - Solo, Palais de Beaux-Arts
1976 - Naples (Italy) - Solo, Galleria Lucio Amelio
1976 - Paris (France) - Solo, Galerie Emeric Fabre
1978 - Rio de Janeiro RJ - Solo, Galeria Gravura Brasileira
1978 - São Paulo SP - Solo, Galeria Luisa Strina
1978 - São Paulo SP - The Role of the Artist/The Illustration of Art: Antonio Dias, Galeria Arte Global
1979 - João Pessoa PB - Solo, Núcleo de Arte Contemporânea da UFPB
1979 - Rio de Janeiro RJ - Solo, Galeria Saramenha
1980 - Brescia (Italy) - Solo, Galleria Piero Cavellini
1980 - Munich (Germany) - Solo, Galerie Walter Storms
1980 - São Paulo SP - Solo, Monica Filgueiras Galeria de Arte
1981 - Pescara (Italy) - Solo, Galleria Cesare Manzo
1981 - São Paulo SP - Solo, Galeria Luisa Strina
1981 - Villigen-Schwenningen (Germany) - Solo, Galerie Walter Worms
1982 - Munich (Germany) - Solo, Galeria Walter Storms
1982 - Rio de Janeiro RJ - Solo, Galeria Gravura Brasileira
1983 - Brescia (Italy) - Solo, Galleria Piero Cavalleini
1983 - Brussels (Belgium) - Solo, Galeria Albert Baronian
1983 - Leonberg (Germany) - Solo, Galerie Beatrix Wilhelm
1983 - Rio de Janeiro RJ - Solo, Galeria Thomas Cohn
1983 - São Paulo SP - Solo, Galeria Luisa Strina
1984 - Munich (Germany) - Solo, Städtische Galerie im Lenbachhaus
1985 - Porto Alegre RS - Solo, Galeria Tina Presser
1985 - Rio de Janeiro RJ - Solo, Galeria Saramenha
1985 - Rio de Janeiro RJ - Solo, Galeria Thomas Cohn
1985 - São Paulo SP - Solo, Galeria Luisa Strina
1985 - Taipei (Taiwan) - Solo, Taipei Fine Arts Museum
1986 - Brescia (Italy) - Solo, Galleria Nuovi Strumenti - Piero Cavellini
1986 - Knokke-Heist (Belgium) - Solo, Galerie Albert Baronian
1986 - São Paulo SP - Solo, Galeria Luisa Strina
1986 - Stuttgart (Germany) - Antonio Dias, Galerie und Verlag
1986 - Stuttgart (Germany) - Solo, Galerie Beatrix Wilhelm
1987 - Badenweiler (Germany) - Solo, Galerie Dr. Luise Krohn
1987 - Barcelona (Spain) - Solo, Galeria Joan Prats
1987 - Milan (Italy) - Solo, Studio Marconi
1987 - Rio de Janeiro RJ - Solo, Galeria Saramenha
1987 - Vitória ES - Solo, Galeria Usina
1987 - Zurich (Switzerland) - Solo, Galerie Emmerich-Baumann
1988 - Berlin (Germany) - Solo, Staatliche Kunsthalle
1989 - Mülheim an der Ruhr (Germany) - Solo, Städtisches Museum
1989 - Offenbach (Germany) - Solo, Galerie Witzel
1989 - São Paulo SP - Solo, Galeria Luisa Strina
1990 - Amsterdam (Netherlands) - Solo, Galerie Pulitzer
1990 - Badenweiler (Germany) - Solo, Galerie Dr. Luise Krohn
1990 - Berlin (Germany) - Solo, Galeria Nothelfer
1990 - Pescara (Italy) - Solo, Galleria Cesare Manzo
1991 - São Paulo SP - Antonio Dias, Galeria Luisa Strina
1992 - Zurich (Switzerland) - Solo, Galerie Stähli
1993 - Berlin (Germany) - Solo, German Academic Exchange Service Gallery
1993 - Munich (Germany) - Solo, Städtische Galerie im Lenbachhaus
1993 - Rio de Janeiro RJ - Solo, Galeria Paulo Fernandes
1993 - São Paulo SP - Solo, Galeria Luisa Strina
1994 - Darmstadt (Germany) - Antonio Dias: works 1967-1994, Institut Mathildenhöhe Darmstadt
1994 - Kraichtal (Germany) - Solo, Ursula-Blickle-Stiftung
1994 - Rio de Janeiro RJ - Solo, Museu da Chácara do Céu
1994 - São Paulo SP - Antonio Dias: works 1967-1994, Paço das Artes
1994 - Zurich (Switzerland) - Solo, Galerie Pablo Stähli
1995 - Milan (Italy) - Solo, Studio Marconi
1996 - Rio de Janeiro RJ - Solo, Galeria Paulo Fernandes
1996 - São Paulo SP - Solo, Galeria Luisa Strina
1999 - Lisbon (Portugal) - Antonio Dias: anthology 1965-99, Calouste Gulbenkian Foundation, José de Azeredo Perdigão Modern Art Center
1999 - Munich (Germany) - Solo, Galeria Walter Storms
2000 - Curitiba PR - The Invented Country, Casa Andrade Muricy
2000 - Niterói RJ - Antonio Dias: the 1970s in the João Sattamini Collection, MAC/Niterói
2000 - Salvador BA - Solo, Paulo Darzé Galeria de Arte
2000 - Salvador BA - The Invented Country, MAM/BA
2000 - São Paulo SP - Solo, Galeria Luisa Strina
2000 - Zurich (Switzerland) - Solo, Galerie Pablo Stähli
2001 - Brasília DF - The Invented Country, Espaço Cultural Contemporâneo Venâncio
2001 - Fortaleza CE - The Invented Country, Centro Dragão do Mar de Arte e Cultura
2001 - Rio de Janeiro RJ - The Invented Country, MAM/RJ
2001 - São Paulo SP - The Invented Country, MAM/SP
2001 - Vila Velha ES - The Invented Country, Museu Vale do Rio Doce
2002 - Recife PE - The Invented Country, Museu de Arte Moderna Aloísio Magalhães
2002 - Rio de Janeiro RJ - Your Husband, Paço Imperial
2003 - Recife PE - Solo, Amparo Sessenta Galeria de Arte
2004 - Rio de Janeiro RJ - 2 + 2, Artur Fidalgo Escritório de Arte
2004 - São Paulo SP - Solo, Silvia Cintra Galeria de Arte
2005 - São Paulo SP - Solo, Galeria Luisa Strina

Group Exhibitions

1961 - Rio de Janeiro RJ - Formiplac Prize, at MAM/RJ
1963 - Curitiba PR - 20th Paraná Fine Arts Salon, at the Public Library of Paraná - acquisition prize
1965 - Paris, France - 4th Paris Biennale - 1st prize in painting
1965 - Rio de Janeiro RJ - 1st Esso Salon of Young Artists, at MAM/RJ
1965 - Rio de Janeiro RJ - 3rd JB Art Summary, at MAM/RJ
1965 - Rio de Janeiro RJ - Opinion 65, at MAM/RJ
1965 - São Paulo SP - 2nd National Young Drawing Exhibition, at MAC/USP - awarded
1965 - São Paulo SP - Propostas 65, at Faap
1966 - Belo Horizonte MG - The Art of Solange Escosteguy and Antonio Dias: paintings on fabric, at Galeria Guignard
1966 - Belo Horizonte MG - Brazilian Vanguard, at UFMG, Rectorate
1966 - Houston, USA - Brazilian Art Today, at Kiko Gallerie
1966 - Prague, Czechoslovakia (now Czech Republic) - La Figuration Narrative, at Václav Spála Gallery
1966 - Rio de Janeiro RJ - Self-Portraits, at Galeria Ibeu Copacabana
1966 - Rio de Janeiro RJ - Opinion 66, at MAM/RJ
1966 - Rio de Janeiro RJ - Stop, at Galeria G4
1966 - São Paulo SP - 8 Artists, at Atrium
1966 - São Paulo SP - Half a Century of New Art, at MAC/USP
1967 - Bern, Switzerland - Science-Fiction, at Kunsthalle Bern
1967 - Paris, France - Science-Fiction, at Musée des Arts Décoratifs
1967 - Düsseldorf, Germany - Science-Fiction, at Städtische Kunsthalle Düsseldorf
1967 - Paris, France - 5th Paris Biennale
1967 - Paris, France - The World in Question, at the Museum of Modern Art
1967 - Rio de Janeiro RJ - New Brazilian Objectivity, at MAM/RJ
1967 - São Paulo SP - 1st Young Contemporary Art, at MAC/USP - acquisition prize
1968 - Campo Grande MS - 28 Artists from the Collection of the Museum of Contemporary Art of the University of São Paulo, at Diário da Serra
1968 - Paris, France - Salon de Mai, at Musée d'Art Moderne de la Ville de Paris
1968 - Rio de Janeiro RJ - 6th JB Art Summary, at MAM/RJ
1968 - Rio de Janeiro RJ - The Brazilian Artist and Mass Iconography, at Escola Superior de Desenho Industrial - Esdi
1969 - Bern, Switzerland - Plans and Projects as Art (1969: Bern, Switzerland) - Kunsthalle Bern
1969 - Munich, Germany - Plans and Projects as Art, at Aktionsraum 1
1969 - Fortaleza CE - 28 Artists from the Collection of the Museum of Contemporary Art of the University of São Paulo, at Centro de Artes Visuais Raimundo Cela
1969 - Paris, France - 25th Salon de Mai, at Musée d'Art Moderne de la Ville de Paris
1969 - Tokyo, Japan - Dialogue Between East and West, at The National Museum of Modern Art
1970 - Bologna, Italy - Comportamenti/Progetti/Mediazioni, at Museo Civico
1970 - Frankfurt, Germany - Art and Politics, at Kunstverein
1970 - Hamburg, Germany - Artists Make Plans, Others Too!, at Kunsthaus Hamburg
1970 - Karlsruhe, Wuppertal, Frankfurt, Germany and Basel, Switzerland - Art and Politics, at Badischer Kunstverein, Kunstverein Wuppertal, Kunstverein Frankfurt, and Kunsthalle Basel
1970 - New York, USA - Art Concepts from Europe, at Bonino Gallery
1971 - Ljubljana, Yugoslavia (now Slovenia) - International Drawing Exhibition, organized by Moderna Galerija Ljubljana - grand prize
1971 - New York, USA - 6th International Exhibition, at Solomon R. Guggenheim Museum
1971 - New York, USA - 6th International Exhibition, at The Solomon R. Guggenheim Museum
1972 - Rijeka, Yugoslavia (now Croatia) - International Exhibition of Original Drawing - awarded
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Collectio Gallery
1973 - Cologne, Germany - Films as Art, at Kunsthalle Köln
1973 - Genoa and Milan, Italy, and London, England - The Record as Artwork, at Galleriaforma, Galleria Françoise Lambert, and The Royal College of Art Gallery
1973 - Paris, France - 8th Paris Biennale
1973 - Rio de Janeiro RJ - International Vanguard, at Galeria Ibeu Copacabana
1973 - São Paulo SP - Expo-Projection 73, at Espaço Grife
1973 - Buenos Aires, Argentina - Expo-Projection 73, at Centro de Arte y Comunicación - CAYC
1973 - Paris, France - 8th Paris Biennale
1974 - Cologne, Germany - Project 74, at Kunsthalle Cologne
1974 - Cologne, Germany - Record as Art, at Galerie Rolf Ricke
1974 - Cologne, Germany - Video Tapes, at Kunstverein Köln
1974 - Lausanne, Switzerland - Impact Video Art, at Musée des Arts Décoratifs
1974 - London, England and Paris, France - Art Systems in Latin America, at Institute of Contemporary Arts and Espace Pierre Cardin
1974 - London, United Kingdom - Art Systems in Latin America, at Institute of Contemporary Art
1975 - Ferrara, Italy - Art Systems in Latin America, at Palazzo dei Diamanti
1975 - Philadelphia, USA - Video Art, at The Institute of Contemporary Art
1975 - Hartford, USA - Video Art, at The Institute of Contemporary Art
1975 - Chicago, USA - Video Art, at The Institute of Contemporary Art
1975 - Cincinnati, USA - Video Art, at The Institute of Contemporary Art
1975 - Milan, Italy - Artevideo and Multivision, at Rotonda della Besana

1976 - Rome (Italy) - Drawings/Disegni: USA/Italy, at Galleria Canavello
1977 - Fort Worth (United States) - The Record as Artwork, at The Fort Worth Art Museum
1977 - Milan (Italy) - Arte & Cinema, at Centro Internazionale di Brera
1977 - Rome (Italy) - Sonora, at Calcografia Nazionale
1978 - Rio de Janeiro RJ - 3rd Arte Agora: Latin America, Geometria Sensível, at MAM/RJ
1978 - São Paulo SP - The Object in Art: Brazil in the 60s, at MAB/Faap
1978 - Venice (Italy) - 39th Venice Biennale
1979 - João Pessoa PB - Free as Art, at Núcleo de Arte Contemporânea da UFPB
1979 - Paris (France) - Artist’s Cinema and Experimental Cinema in Italy, at Cinematheque Française
1980 - Milan (Italy) - Camere Incantate, at Palazzo Reale
1980 - Milan (Italy) - Quasi Cinema, at Centro Internazionale di Brera
1980 - Rio de Janeiro RJ - Homage to Mário Pedrosa, at Galeria Jean Boghici
1981 - Porto Alegre RS - Brazilian Artists of the 60s and 70s in the Rubem Knijnik Collection, at Espaço NO Galeria Chaves
1981 - Rio de Janeiro RJ - Quasi Cinema, at MAM/RJ
1981 - São Paulo SP - 16th São Paulo International Biennial, at Fundação Bienal
1981 - São Paulo SP - Arte Pesquisa, at MAC/USP
1981 - São Paulo SP - Contemporary Brazilian 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 - London (United Kingdom) - Brazil: 60 Years of Modern Art, Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - Rio de Janeiro RJ - Contemporaneity: Homage to Mário Pedrosa, at MAM/RJ
1982 - Rio de Janeiro RJ - What House is this of Brazilian Art, at Galeria Gravura Brasileira
1983 - Rio de Janeiro RJ - 13 Artists/13 Works, at Galeria Thomas Cohn
1983 - Rio de Janeiro RJ - 3000 Cubic Meters, at Espaço Cultural Sérgio Porto
1983 - Vinci (Italy) - Codici e Marchingegni 1482-1983, at Casa di Leonardo
1984 - New York (United States) - An International Survey of Recent Painting and Sculpture, at MoMA
1984 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães, and Rubens Gerchman, at Centro Empresarial
1984 - Rio de Janeiro RJ - The Roles of Paper, at Funarte. Centro de Artes
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1984 - Sydney (Australia) - 5th Sydney Biennale
1985 - Rio de Janeiro RJ - 8th National Salon of Visual Arts, at MAM/RJ
1985 - Rio de Janeiro RJ - Galeria Ibeu Copacabana 25 Years: 1960-1985, at Galeria Ibeu Copacabana
1985 - Rio de Janeiro RJ - Opinion 65, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Portrait of the Collector in His Collection, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Old Habit: Brazilian Drawing, at EAV/Parque Lage
1985 - São Paulo SP - Trends in the Artist’s Book in Brazil, at CCSP
1985 - Tokyo (Japan) - Today’s Art of Brazil, at Hara Museum of Contemporary Art
1986 - Frankfurt (Germany) - Prospect 86, at Kunstverein
1986 - Porto Alegre RS - Rubem Knijnik Collection: Brazilian Art of the 60s/70s/80s, at Margs
1986 - Rio de Janeiro RJ - Transvanguardia and National Cultures, at MAM/RJ
1986 - São Paulo SP - 1st Christian Dior Contemporary Art Exhibition: Painting, at Paço Imperial
1987 - Paris (France) - Modernity: 20th-Century Brazilian Art, at Musée d’Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Homage to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 18th Panorama of Contemporary Brazilian Art, at MAM/SP
1987 - São Paulo SP - The Craft of Art: Painting, at Sesc
1987 - São Paulo SP - Imagic Word, at MAC/USP
1988 - Leverkusen (Germany) - Brazil Now, at Museum Morsbroich
1988 - Stuttgart (Germany) - Brazil Now, at Galerie Landesgirokasse
1988 - New York (United States) - Brazil Projects, at P.S.1
1988 - New York (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at The Bronx Museum of the Arts
1988 - Rio de Janeiro RJ - Hedonism: Gilberto Chateaubriand Collection, at Galeria Edifício Gilberto Chateaubriand
1988 - São Paulo SP - 63/66 Figure and Object, at Galeria Millan
1988 - São Paulo SP - Modernity: 20th-Century Brazilian Art, at MAM/SP
1989 - El Paso (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at El Paso Museum of Art
1989 - Hannover (Germany) - Brazil Now, at Sprengel Museum
1989 - San Juan (Puerto Rico) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at Instituto de Cultura Puertorriqueña
1989 - San Diego (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at San Diego Museum of Art
1989 - São Paulo SP - São Paulo Gallery Collection, at Galeria de Arte São Paulo
1989 - São Paulo SP - Gesture and Structure, at Gabinete de Arte Raquel Arnaud
1990 - Berlin (Germany) - Gegenwart/Ewigkeit, at Martius-Gropius-Bau
1990 - Berlin (Germany) - Exhibition, at Berliner Galerien Zeigen Brasilianische Kunst
1990 - Brasília DF - Brasília Visual Arts Prize, at MAB
1990 - Los Angeles (United States) and São Paulo SP - Brazil Projects ’90, at Municipal Art Gallery and Masp
1990 - Miami (United States) - 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 - São Paulo SP - Brazil Projects ’90, at Masp
1991 - Rio de Janeiro RJ - Imagem sobre Imagem, at Espaço Cultural Sérgio Porto
1991 - São Paulo SP - O Que Faz Você Agora Geração 60?: young contemporary art from the 1960s revisited, at MAC/USP
1992 - Curitiba PR - Mostra América, at Museu de Gravura
1992 - Paris (France) - Latin American Artists of the Twentieth Century, at Centre Georges Pompidou
1992 - Poços de Caldas MG - Arte Moderna Brasileira: collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Casa de Cultura
1992 - Rio de Janeiro RJ - 1º A Caminho de Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - As Artes do Poder, at Paço Imperial
1992 - Rio de Janeiro RJ - Gravura de Arte no Brasil: proposal for a mapping, at CCBB
1992 - Rio de Janeiro RJ - Natureza: four centuries of art in Brazil, at CCBB
1992 - São Paulo SP - 1960s/70s: Gilberto Chateubriand Collection / Museu de Arte Moderna-RJ, at Galeria de Arte do Sesi
1992 - São Paulo SP - Branco Dominante, at Escritório de Arte São Paulo
1992 - Seville (Spain) - Latin American Artists of the Twentieth Century, at Estación Plaza de Armas
1992 - Zurich (Switzerland) - Brasilien: entdeckung und selbstentdeckung, at Kunsthaus
1993 - Cologne (Germany) - Latin American Artists of the Twentieth Century, at Kunsthalle Cologne
1993 - João Pessoa PB - Xilogravura: from cordel to gallery, at Fundação Espaço Cultural da Paraíba
1993 - João Pessoa PB - Xilogravura: from cordel to gallery, at Funesc
1993 - Niterói RJ - 2º A Caminho de Niterói: João Sattamini Collection, at MAC/Niterói
1993 - New York (United States) - Latin American Artists of the Twentieth Century, at MoMA
1993 - Rio de Janeiro RJ - A Rarefação dos Sentidos: João Sattamini Collection - 1970s, at EAV/Parque Lage
1993 - Rio de Janeiro RJ - Arte Erótica, at MAM/RJ
1993 - Rio de Janeiro RJ - Emblemas do Corpo: the nude in modern Brazilian art, at CCBB
1993 - Rio de Janeiro RJ - Prints by Amilcar de Castro, Antonio Dias, Iberê Camargo, and Sérgio Fingermann, at EAV/Parque Lage
1993 - São Paulo SP - Brazilian Art in the World, a Trajectory: 24 Brazilian artists, at Dan Galeria
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1993 - São Paulo SP - Representation: decisive presences, at Paço das Artes
1993 - Venice (Italy) - Brasil: Segni d'Arte, at Fondazione Scientífica Querini Stampalia
1993 - Venice (Italy) - Brasil: Segni d'Arte, at Fondazione Scientífica Querini Stampalia
1993 - Milan (Italy) - Brasil: Segni d'Arte, at Biblioteca Nazionale Braidense
1993 - Florence (Italy) - Brasil: Segni d'Arte, at Biblioteca Nazionale
1993 - Rome (Italy) - Brasil: Segni d'Arte, at Centro de Estudos Brasileiros
1994 - Belo Horizonte MG - The Ephemeral in Brazilian Art: 1960s/70s
1994 - Penápolis SP - The Ephemeral in Brazilian Art: 1960s/70s, at Galeria Itaú Cultural
1994 - Poços de Caldas MG - Unibanco Collection: commemorative exhibition for Unibanco’s 70th anniversary, at Casa da Cultura
1994 - Rio de Janeiro RJ - Livro-Objeto: the frontier of emptiness, at CCBB
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trincheiras: art and politics in Brazil, at MAM/RJ
1994 - São Paulo SP - 20 Years of Brazilian Art, at MASP
1994 - São Paulo SP - 22nd São Paulo International Biennial, at Fundação Bienal
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - 22nd São Paulo International Biennial, at Fundação Bienal
1994 - São Paulo SP - The Ephemeral in Brazilian Art: 1960s/70s, at Itaú Cultural
1994 - São Paulo SP - Landscapes, at Galeria de Arte São Paulo
1994 - São Paulo SP - Poetics of Resistance: aspects of Brazilian printmaking, at Galeria de Arte do Sesi
1994 - São Paulo SP - Poetics of Resistance: aspects of Brazilian printmaking, at Galeria de Arte do Sesi
1994 - São Paulo SP - Xilogravura: from cordel to gallery, at Metrô and MASP
1995 - Rio de Janeiro RJ - Unibanco Collection: commemorative exhibition for Unibanco’s 70th anniversary, at MAM/RJ
1995 - Rio de Janeiro RJ - Opinião 65: 30 years, at CCBB
1995 - São Paulo SP - Livro-Objeto: the frontier of emptiness, at MAM/SP
1996 - Basel (Switzerland) - Medien, Kunstwerke, at Galerie Stampa
1996 - Brasília DF - The Ephemeral in Brazilian Art: 1960s/70s, at Itaugaleria
1996 - Cologne (Germany) - New Acquisitions, at Museum Ludwig
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC/Niterói
1996 - Rio de Janeiro RJ - 1970s: photolanguage, at EAV/Parque Lage
1996 - Rio de Janeiro RJ - Antonio Dias and Roberto Magalhães, at Paço Imperial
1996 - Rio de Janeiro RJ - Dialog: German experiences, at MAM/RJ
1996 - Rio de Janeiro RJ - Interiors, at MAM/RJ
1996 - Rio de Janeiro RJ - Reila Gracie, Roberto Magalhães, Antonio Dias, at Paço Imperial
1996 - Rio de Janeiro RJ - Transparencies, at MAM/RJ
1996 - São Paulo SP - Brazilian Art: 50 years in the MAC/USP collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - The World of Mario Schenberg, at Casa das Rosas
1997 - Barcelona (Spain) - Itinerant Impressions, at Casa do Brasil
1997 - Curitiba PR - Contemporary Printmaking, at Museu Metropolitano de Arte de Curitiba
1997 - New York (United States) - Re-Aligning Visions: alternative currents in South American drawing, at Museo del Barrio
1997 - Little Rock (United States) - Re-Aligning Visions: alternative currents in South American drawing, at Arkansas Art Center
1997 - Porto Alegre RS - 1st Mercosur Visual Arts Biennial, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Rio de Janeiro RJ - Air: exhibition of visual arts, toys, objects, and models, at Paço Imperial
1997 - Stuttgart (Germany) - Magie der Zahl in der Kunst des 20. Jahrhunderts, at Staatsgalerie
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 - Niterói RJ - Espelho da Bienal, at MAC/Niterói
1998 - Ribeirão Preto SP - Dimensions of Contemporary Art, at Museu de Arte de Ribeirão Preto
1998 - Rio de Janeiro RJ - 1960s/70s: Gilberto Chateaubriand Collection, at MAM/RJ
1998 - Rio de Janeiro RJ - Anthropophagy, at Museu da República
1998 - Rio de Janeiro RJ - Poetics of Color, at Centro Cultural Light
1998 - Rio de Janeiro RJ - Terra Incógnita, at CCBB
1998 - Rio de Janeiro RJ - Thirty Years of ’68, at CCBB
1998 - Rio de Janeiro RJ - Constantini Collection at Museu de Arte Moderna do Rio de Janeiro, at MAM/RJ
1998 - São Paulo SP - Constantini Collection at Museu de Arte Moderna do Rio de Janeiro, at MAM/SP
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: matrices and prints, at Galeria de Arte do Sesi
1998 - São Paulo SP - Theory of Values, at MAM/SP
1998 - Rio de Janeiro RJ - Theory of Values, at Casa França-Brasil
1999 - Lisbon (Portugal) - Latin America from the Avant-Gardes to the End of the Millennium, at Culturgest
1999 - Miami (United States) - Re-Aligning Visions: alternative currents in South American drawing, at Miami Art Museum
1999 - New York - Global Conceptualism: point of origin, 1950s-1980s, at Queens Museum of Art
1999 - Minneapolis - Global Conceptualism: point of origin, 1950s-1980s, at Walker Art Center
1999 - Miami (United States) - Global Conceptualism: point of origin, 1950s-1980s, at Miami Art Museum
1999 - Rio de Janeiro RJ - Rio Gravura Exhibition. Mônica and George Kornis Collection, at Espaço Cultural dos Correios

2000 - Curitiba PR - 12th Curitiba Print Exhibition. Marks of the Body, Folds of the Soul
2000 - Lisbon, Portugal - 20th Century: Art from Brazil, at the Calouste Gulbenkian Foundation, José de Azeredo Perdigão Center for Modern Art
2000 - Lisbon, Portugal - Spanning an Entire Ocean, at Culturgest
2000 - New York, USA - Icon + Grid + Void, at The Americas Society
2000 - Rio de Janeiro RJ - Antonio Dias, Carlos Vergara, Roberto Magalhães, Rubens Gerchman, at GB Arte
2000 - Rio de Janeiro RJ - Situations: Brazilian Art of the 70s, at Fundação Casa França-Brasil
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Conceptual Art and Conceptualisms: 70s in the MAC/USP Collection, at Sesi Art Gallery
2000 - São Paulo SP - Brazil + 500: Rediscovery Exhibition – Contemporary Art, at Fundação Bienal
2001 - Oxford, UK - Experiment Experiência: Art in Brazil 1958–2000, at Museum of Modern Art
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at MARGS
2001 - Recife PE - Palavraimagem, at MAMAM
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - Rio de Janeiro RJ - The Spirit of Our Time, at MAM/RJ
2001 - São Paulo SP - The Spirit of Our Time, at MAM/SP
2001 - São Paulo SP - 70s: Trajectories, at Itaú Cultural
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Belo Horizonte MG - Antonio Dias and Nelson Felix, at Celma Albuquerque Art Gallery
2002 - Brasília DF - Fragments to Your Magnet, at Venâncio Contemporary Cultural Space
2002 - Fortaleza CE - Ceará Rediscovering Brazil, at Dragão do Mar Center for Art and Culture
2002 - Madrid, Spain - ARCO/2002, at Parque Ferial Juan Carlos I
2002 - Niterói RJ - The Recent Collection of MAC, at Museu de Arte Contemporânea
2002 - Niterói RJ - Works on Paper, at MAC/RJ
2002 - Niterói RJ - Dialogue, Antagonism and Replication in the Sattamini Collection, at MAC/RJ
2002 - Passo Fundo RS - Prints: Paulo Dalacorte Collection, at Ruth Schneider Museum of Visual Arts
2002 - Porto Alegre RS - Prints: Paulo Dalacorte Collection, at Museu do Trabalho
2002 - Recife PE - In Seven Times, Amparo Sessenta Art Gallery
2002 - Rio de Janeiro RJ - Archipelagos: the Plural Universe of MAM, at MAM/RJ
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From Modern Restlessness to Autonomy of Language, at CCBB
2002 - Rio de Janeiro RJ - Artefoto, at CCBB
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 Parque das Ruínas Gallery
2002 - Rio de Janeiro RJ - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From Modern Restlessness to Autonomy of Language, at CCBB
2002 - São Paulo SP - Metrópolis Contemporary Art Collection, at Pinacoteca do Estado
2002 - São Paulo SP - Map of the Present: Recent Brazilian Art in the João Sattamini Collection of the Niterói Museum of Contemporary Art, at Instituto Tomie Ohtake
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From Modern Restlessness to Autonomy of Language, at CCBB
2003 - Brasília DF - Artefoto (2003: Brasília, DF) – CCBB
2003 - Rio de Janeiro RJ - Autonomy of Drawing, at MAM/RJ
2003 - Rio de Janeiro RJ - Fiat Lux: Light in Art, at Federal Justice Cultural Center
2003 - Rio de Janeiro RJ - Projeto Brazilianart, at Almacén Art Gallery
2003 - São Paulo SP - The Subversion of Means, at Itaú Cultural
2003 - São Paulo SP - Collection 2003/2004, at Galeria Luisa Strina
2003 - São Paulo SP - Approaches to the Pop Spirit: 1963–1968, at MAM/SP
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - Galeria Luisa Strina: Represented Artists, at Galeria Luisa Strina
2003 - São Paulo SP - MAC USP 40 Years: Contemporary Interfaces, at MAC/USP
2003 - São Paulo SP - My Friends, at Espaço MAM-Villa-Lobos
2003 - Vila Velha ES - The Salt of the Earth, at Museu Vale do Rio Doce
2004 - Campinas SP - Metrópolis Contemporary Art Collection, at Espaço Cultural CPFL
2004 - Madrid, Spain - ARCO/2004, at Parque Ferial Juan Carlos I
2004 - Rio de Janeiro RJ - 30 Artists, at Mercedes Viegas Art Office
2004 - Rio de Janeiro RJ - Contemporary Brazilian Art in the Collections of Rio, at MAM/RJ
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Chateaubriand Collection, MAM/RJ
2004 - São Paulo SP - Contemporary Art in the Municipal Collection, at CCSP
2004 - São Paulo SP - Notations and Snapshots, at Lurixs: Contemporary Art
2005 - Belo Horizonte MG - 40/80: An Exhibition of Brazilian Art, at Léo Bahia Contemporary Art
2005 - Rio de Janeiro RJ - Group Exhibition 2005, at Mercedes Viegas Art Office
2005 - São Paulo SP - Art in Metropolis, at Instituto Tomie Ohtake
2005 - São Paulo SP - Collections VI, at Galeria Luisa Strina