Flavio de Carvalho

Flávio de Carvalho (Amparo da Barra Mansa RJ 1899 - Valinhos SP 1973)

Flávio de Carvalho was a painter, draftsman, architect, set designer, decorator, writer, playwright, and engineer. He moved with his family to São Paulo in 1900. In 1911, he began studying in Paris and, three years later, in England, where in 1918 he enrolled in civil engineering at Armstrong College, University of Durham, and attended evening classes in arts at the King Edward the Seventh School of Fine Arts. He completed his engineering degree in 1922 and returned to São Paulo the same year, shortly after the Modern Art Week took place.

He pursued activities across various artistic and intellectual fields, often in innovative and provocative ways. He participated in public architecture competitions, such as the São Paulo State Government Palace in 1927. Although he did not win, his designs were considered pioneering examples of modern architecture in Brazil. In 1931, he staged the controversial event Experiência nº 2, in which he walked against a Corpus Christi procession while wearing a cap, provoking strong public hostility.

In 1932, he opened a studio and co-founded the Clube dos Artistas Modernos (CAM) alongside Antonio Gomide, Di Cavalcanti, and Carlos Prado. The following year, he created the Teatro da Experiência and staged O Bailado do Deus Morto, an innovative theatre-dance performance of his own creation, for which he designed the set and costumes, featuring predominantly Black actors.

In 1934, he held his first solo exhibition, initially closed by the police on charges of indecency, but later reopened by court order. In 1947, he produced the Série Trágica drawings, depicting his mother’s death. After publishing a series of fashion articles in 1956 for the column Casa, Homem, Paisagem in Diário de São Paulo, where he mainly wrote about architecture and urbanism, he paraded through the city center wearing the New Look, a tropical men’s outfit he designed, consisting of a skirt and loose short-sleeved blouse.

Critical Commentary

Trained as a civil engineer at the University of Durham in England, Flávio de Carvalho entered the competition for São Paulo’s Government Palace in 1927. His highly debated design stood out among the entries, primarily due to the building’s monumental quality, marked by the decomposition of volumes and the dramatic interplay of spotlighted lighting. In 1930, he participated in the Pan-American Architects Congress with the lecture The City of the Naked Man, emphasizing the idea of a man freed from the prejudices of bourgeois civilization.

The thesis has broad connections with the anthropophagic movement. He participated in several other competitions, without winning any. Only two of his projects were realized: the residential complex on Alameda Lorena (1936–1938) and Fazenda Capuava (1939), both precursors of modern architecture in Brazil. The farmhouse house best synthesizes his architectural ideas, driven primarily by imagination and corresponding to new ways of living and thinking. In it, decoration is as important as architecture. The façade is a tall trapezoid; the interior is a large undivided hall, with curtains of colored fabrics dancing in the wind. The bathrooms and kitchen are clad in aluminum sheets, a highly modern material. There is also a fireplace with an aluminum dome that emits colored smoke.

During the 1930s, he maintained intense activity. In 1931, his studies of anthropology and psychoanalysis led him to stage Experiência nº 2. In it, he crossed a procession in the opposite direction. The act was considered disrespectful, especially because he wore a cap. The artist was nearly lynched and had to be protected by the police. His intention was to test the limits of tolerance and the aggression of a religious crowd. He wrote an essay on the subject, analyzing the event, published in the book Experiência nº 2: uma possível teoria e uma experiência.

The volume is illustrated by the artist himself. Through his work with the Clube dos Artistas Modernos (CAM), he stimulated São Paulo’s cultural life and helped create a space for discussion across disciplines, bringing together artists, composers, writers, and psychiatrists. In 1933, he founded the Teatro da Experiência, which staged O Bailado do Deus Morto, an experimental theatre-dance performance for which he created the text, sets, costumes, and lighting. The actors, mostly Black, wore aluminum masks and performed dynamic, ritualistic movements. The show innovated the Brazilian theatre scene and was linked to Dadaist and Surrealist movements.

The theatre was closed by the police, leading to the shutdown of CAM. In 1935, he held his first solo exhibition, also closed by the authorities, with five works seized on grounds of indecency and immorality. The artist secured a court order to reopen the show.

His painting is generally classified as Expressionist, though with Surrealist elements. His most frequent subjects are portraits, chosen for their capacity to capture emotional and psychological aspects. The artist stated that "in a portrait, there is a world to discover and refine; not only regarding the pure dialectics of painting but also the human importance of the character." Some of his most significant 1930s portraits, such as Retrato de Oswald de Andrade and Julieta Bárbara (1939) and Retrato de Mário de Andrade (1939), display gestural intensity that intensifies in his later compositions. The rhythm of his paintings comes from dense, exaggerated brushstrokes. He employs strong color schemes and emphasizes the face to highlight expressive depth and the subject’s personality.

In 1947, he produced the Série Trágica, drawings capturing his mother’s death with quick, aggressive strokes, generating a vivid graphic pulse. In the 1950s and 1960s, he painted female nudes and devoted himself to drawing, watercolor, and printmaking. In 1956, concluding a series of fashion articles, he introduced the famous summer ensemble—the New Look—specifically designed for men in the tropics. Wearing it in the streets of São Paulo, he shocked the crowd. The outfit included a loose short-sleeved blouse, a skirt, a wide-brimmed hat made from lightweight fabrics, sandals, and fishnet socks. For him, the fashion parade was another experiment, aimed at provoking reflection on social conventions.

In his later works, Flávio de Carvalho also used innovative materials, such as phosphorescent paint for blacklight effects. A cultural animator, irreverent and provocative, he is considered a precursor of the multimedia artist. He stands out for his theatre work and performances, paving the way for new artistic procedures that developed in Brazil from the 1960s and 1970s onward.

Notes

1 Cited in the book 30 Masters of Painting in Brazil: 30 Years. São Paulo: MASP, 2001. p.152.

Critiques

"Flávio de Carvalho was not among the participants of the Semana. He emerged on the modernist scene as an enfant terrible, in the manner of the ironic Oswald de Andrade. He stood out more for his extravagant lifestyle and his initiatives, which were considered provocative and scandalous. He is credited with actions that were important for the renewal of the arts. Engineer, architect, painter, and draftsman of extraordinary inventiveness—qualities that established him as the leading figure of his time, as well as sociologist and writer—Flávio is remembered as an active agitator of the 1930s. By founding the Salão de Maio, he attempted to unprovincialize the sphere of 'amateur artists' bound to lazy academic conventions, yet without achieving anything of lasting value."
Pietro Maria Bardi
BARDI, Pietro Maria. Modernism in Brazil. Preface by Giovanni Lenti. São Paulo: Banco Sudameris, 1978. p. 95. (Art and Culture, 1).

"Whenever possible, he sought to create conditions for Brazilian art to engage with, and be fertilized by, the broader international milieu. He was among the first to consistently introduce works by contemporary European, North American, and Latin American artists to our country. This synchronization with international creativity was essentially achieved by Flávio de Carvalho through the absorption of Expressionism. (...) To this foundational Expressionism, which summoned the forces of a rare kind of savagery in Brazilian art, he was able to incorporate the more sinuous and subtle dimension of Surrealism, which provided the vehicle for the vast flights of an imagination in full motion."
Roberto Pontual
PONTUAL, Roberto. Between Two Centuries: Brazilian Art of the 20th Century in the Gilberto Chateaubriand Collection. Preface by Gilberto Chateaubriand; introduction by M. F. do Nascimento Brito. Rio de Janeiro: Jornal do Brasil, 1987.

"Flávio de Carvalho is an Expressionist, that is, someone who seeks to externalize a vision of the world as observed from within, capable of deforming or reforming reality, reinventing colors, and dismantling traditional schemes, guided more by emotion than reason. As a painter—primarily of figures, with a particular preference for portraiture—he employed absolute formal and chromatic freedom, indifferent to anatomical accuracy, the texture of flesh, or atmospheric color. In pursuit of expression, he often fragmented the human body into dozens of chromatic segments that merge into the backgrounds of his paintings in a deliberate ambiguity, serving, above decorative function, an eminently expressive purpose. Color becomes liberated—pictorial color, beyond mere reference to natural hues—and the entire surface of his works vibrates with a distinct rhythm, rendering the figure a mere pictorial pretext. (...) Flávio wrote (...) once reflecting on the problem of color and subject: 'The problem of a set of colors has nothing to do with the subject in painting. A set of colors without a subject can be as suggestive, or even more, than a set of colors with a subject.'"
José Roberto Teixeira Leite
LEITE, José Roberto Teixeira. Critical Dictionary of Painting in Brazil. Rio de Janeiro: Artlivre, 1988.

"Extremely heterodox, Flávio de Carvalho's work cannot be separated from his biography. By ritualizing every aspect of his daily life, it seems that for the artist there were never differences in degree between painting a friend and making love with her, or between graphically recording his mother’s agony and walking backward in a Catholic procession with a hat on his head. All his actions were a personal inquiry into self and world, regardless of whether this inquiry was documented through traditionally recognized artistic techniques. Unfortunately, successive generations of modernist critics have valued only the material traces of his passage through the Brazilian circuit—the paintings, drawings, certain architectural achievements—overlooking or attempting to overlook that often the most compelling aspect of Carvalho’s production is not the final product (in some moments masterful, like the series of drawings Minha Mãe Morrendo), but each act the artist undertook to engage with the mysteries of the world."
Tadeu Chiarelli
CHIARELLI, Tadeu. On the Margins of Modernism. In: ______. Brazilian International Art. São Paulo: Lemos, 1999. p. 47-59.

"Flávio de Carvalho's importance to the history of Brazilian art, however specific, is linked to the energy and inventiveness emanating from his actions. These actions are not sterilized in a bizarre cult of personality, but rather open an entirely new universe of artistic experimentation, outside institutions and traditional practices. Therefore, we must say that the measure of his exemplary nature is not tied to the concrete results of his work—which is indeed the case—but more to a creative potency unleashed through a daringly plural practice. No matter how chaotic this energy, it should not be underestimated; its radiating power has not yet been exhausted. This possibility of conceiving action as form compels us to reconsider, without reductionism, the very notion of artwork and its dissemination within specific cultural contexts.
Despite contemporary interest in the 'experimental artist'—and of course, Flávio de Carvalho's performances and irreverence give him a distinct accent—it should be added that the paintings and drawings he produced possess an intensity still underappreciated by our critics and historians. Especially the drawings, which reveal a more forceful and liberated graphic anxiety. Viewed historically, his painting of the 1930s and 1940s is more than merely peculiar, as it demonstrates a will for expression through a materiality that is distinct, more vigorous, and original than the formal restraint of his peers."
Luiz Camillo Osorio
OSORIO, Luiz Camillo. Poetics in Transit: Flávio de Carvalho. In: ______. Flávio de Carvalho. São Paulo: Cosac & Naify, 2000. p. 10.

Collections

Artistic-Cultural Collection of the Government Palaces of the State of São Paulo. Palácio dos Bandeirantes - São Paulo SP
Collection of the Pinacoteca do Estado de São Paulo/Brazil - São Paulo SP
São Paulo Medical Association - São Paulo SP
Gilberto Chateaubriand Collection - MAM RJ - Rio de Janeiro RJ
Collection of the Museum of Contemporary Art of the University of São Paulo - São Paulo SP
Collection of the Museum of Modern Art of São Paulo - São Paulo SP
Galleria Nazionale d'Arte Moderna di Roma - Rome (Italy)
Musée d'Art Moderne de la Ville de Paris - Paris (France)
Brazilian Art Museum - FAAP - São Paulo SP
São Paulo Museum of Art Assis Chateaubriand - São Paulo SP
Museum of Modern Art - MoMA - New York (United States)
Pinacoteca of the Federal University of Viçosa - Viçosa MG
Municipal Pinacoteca/Centro Cultural São Paulo - São Paulo SP

Solo Exhibitions

1934 - São Paulo SP - First solo exhibition, at Prédio Alves de Lima, Rua Barão de Itapetininga - closed by the police for offending public morals, later reopened by court order
1948 - Buenos Aires (Argentina) - Solo exhibition at Galeria Viau
1948 - São Paulo SP - Solo exhibition at Masp
1952 - São Paulo SP - Flávio de Carvalho: Drawings, at MAM/SP
1956 - Rome (Italy) - Solo exhibition at Galleria L'Obelisco
1957 - Rio de Janeiro RJ - Solo exhibition at Galeria Montmartre Jorge
1958 - Paris (France) - Solo exhibition at Hélène Dale Galerie
1959 - São Paulo SP - Solo exhibition at Galeria KLM
1960 - São Paulo SP - Solo exhibition at Galeria São Luís
1966 - Porto Alegre RS - Solo exhibition at IAB
1966 - São Paulo SP - Solo exhibition at Galeria Itália
1967 - São Paulo SP - Flávio de Carvalho: Retrospective, at MAB/Faap
1969 - São Paulo SP - Solo exhibition at Galeria Azulão
1973 - São Paulo SP - Solo exhibition at MAC/USP
1973 - São Paulo SP - Flávio de Carvalho: Retrospective, at MAB/Faap

Group Exhibitions

1931 - Rio de Janeiro RJ - Revolutionary Salon at Enba
1934 - São Paulo SP - 1st São Paulo Fine Arts Salon, Rua 11 de Agosto
1937 - São Paulo SP - 1st May Salon, Esplanada Hotel, São Paulo
1938 - São Paulo SP - 2nd May Salon, Esplanada Hotel, São Paulo
1939 - Porto Alegre RS - 2nd Salon of the Francisco Lisboa Association of Visual Arts
1939 - São Paulo SP - 3rd May Salon, Galeria Itá
1939 - São Paulo SP - 5th Salon of the Union of Visual Artists, Galeria Prestes Maia
1941 - São Paulo SP - 6th Salon of the Union of Visual Artists, Galeria Prestes Maia
1942 - São Paulo SP - 7th Salon of the Union of Visual Artists, Galeria Prestes Maia
1944 - London (England) - Exhibition of Modern Brazilian Paintings, Royal Academy of Arts
1944 - Norwich (England) - Exhibition of Modern Brazilian Paintings, Norwich Castle and Museum
1945 - Bath (England) - Exhibition of Modern Brazilian Paintings, Victory Art Gallery
1945 - Bristol (England) - Exhibition of Modern Brazilian Paintings, Bristol City Museum & Art Gallery
1945 - Edinburgh (Scotland) - Exhibition of Modern Brazilian Paintings, National Gallery
1945 - Glasgow (Scotland) - Exhibition of Modern Brazilian Paintings, Kelvingrove Art Gallery
1945 - Manchester (England) - Exhibition of Modern Brazilian Paintings, Manchester Art Gallery
1945 - São Paulo SP - Galeria Domus: inaugural show, Galeria Domus
1946 - São Paulo SP - 10th Salon of the Union of Visual Artists, Galeria Prestes Maia
1947 - São Paulo SP - 11th Salon of the Union of Visual Artists, Galeria Prestes Maia
1948 - Rio de Janeiro RJ - International Exhibition of Contemporary Architecture
1949 - Rio de Janeiro RJ - São Paulo Painting Exhibition, Ministry of Education and Health
1950 - Rome (Italy) - Mostra d'Arte Brasiliana
1950 - Venice (Italy) - 25th Venice Biennale
1951 - São Paulo SP - 1st São Paulo International Biennial, Pavilhão do Trianon
1951 - São Paulo SP - 1st São Paulo Salon of Modern Art, Galeria Prestes Maia
1952 - Rio de Janeiro RJ - Exhibition of Brazilian Artists, MAM/RJ
1953 - São Paulo SP - 2nd São Paulo International Biennial, Pavilhão dos Estados
1954 - São Paulo SP - Contemporary Art: Exhibition of the MAM/SP Collection, MAM/SP
1955 - São Paulo SP - 3rd São Paulo International Biennial, Pavilhão das Nações
1957 - São Paulo SP - 12 Artists of São Paulo, Galeria de Arte das Folhas
1959 - Leverkusen (Germany) - First Collective Exhibition of Brazilian Artists in Europe
1959 - Munich (Germany) - First Collective Exhibition of Brazilian Artists in Europe, Kunsthaus
1959 - Vienna (Austria) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Hamburg (Germany) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Lisbon (Portugal) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Madrid (Spain) - First Collective Exhibition of Brazilian Artists in Europe
1960 - Paris (France) - First Collective Exhibition of Brazilian Artists in Europe
1960 - São Paulo SP - Leirner Collection, Galeria de Arte das Folhas
1960 - Utrecht (Netherlands) - First Collective Exhibition of Brazilian Artists in Europe
1962 - São Paulo SP - Selection of Brazilian Art from the Ernesto Wolf Collection, MAM/SP
1963 - Campinas SP - Contemporary Painting and Sculpture, Museu Carlos Gomes
1963 - São Paulo SP - 7th São Paulo International Biennial, Fundação Bienal - awarded
1964 - Rio de Janeiro RJ - The Nude in Contemporary Art, Galeria Ibeu Copacabana
1965 - São Paulo SP - 14th São Paulo Salon of Modern Art, Galeria Prestes Maia - gold medal
1965 - São Paulo SP - 8th São Paulo International Biennial, Fundação Bienal
1967 - São Paulo SP - 9th São Paulo International Biennial, Fundação Bienal - Grand Prize in Drawing
1969 - São Paulo SP - 1st Panorama of Contemporary Brazilian Art, MAM/SP
1970 - São Paulo SP - 2nd Panorama of Contemporary Brazilian Art, MAM/SP
1970 - São Paulo SP - Flávio de Carvalho - J. Toledo: Retrospective, MAM/SP
1970 - São Paulo SP - Pinacoteca do Estado de São Paulo 1970
1971 - São Paulo SP - 11th São Paulo International Biennial, Fundação Bienal
1971 - São Paulo SP - 3rd Panorama of Contemporary Brazilian Art, MAM/SP
1972 - Rio de Janeiro RJ - 50 Years of Modern Architecture, MAM/RJ
1972 - São Paulo SP - 2nd International Print Exhibition, MAM/SP
1972 - São Paulo SP - The Week of 22: Antecedents and Consequences, Masp
1972 - São Paulo SP - Arte/Brasil/Hoje: 50 Years Later, Galeria da Collectio

Posthumous Exhibitions

1973 - São Paulo SP - 12th São Paulo International Biennial, Fundação Bienal
1975 - São Paulo SP - SPAM and CAM, Museu Lasar Segall
1976 - São Paulo SP - The Salons: Paulista Artistic Family, May Salon and Union of Visual Artists of São Paulo, Museu Lasar Segall
1979 - São Paulo SP - 15th São Paulo International Biennial, Fundação Bienal
1980 - Buenos Aires (Argentina) - Ochenta Años de Arte Brasileño, Banco Itaú
1982 - Bauru SP - 80 Years of Brazilian Art
1982 - Curitiba PR - 5th Annual Print Exhibition Cidade de Curitiba, Casa da Gravura Solar do Barão
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (England) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, Barbican Art Gallery
1982 - Marília SP - 80 Years of Brazilian Art
1982 - Rio de Janeiro RJ - Between Stain and Figure, MAM/RJ
1982 - São Paulo SP - 80 Years of Brazilian Art, MAB/Faap
1982 - São Paulo SP - From Modernism to the Biennial, MAM/SP
1983 - Belo Horizonte MG - 80 Years of Brazilian Art, Fundação Clóvis Salgado, Palácio das Artes
1983 - Campinas SP - 80 Years of Brazilian Art, MACC
1983 - Curitiba PR - 80 Years of Brazilian Art, MAC/PR
1983 - Ribeirão Preto SP - 80 Years of Brazilian Art
1983 - Santo André SP - 80 Years of Brazilian Art, Prefeitura Municipal de Santo André
1983 - São Paulo SP - 17th São Paulo International Biennial, Fundação Bienal
1984 - Fortaleza CE - 7th National Salon of Visual Arts
1984 - Rio de Janeiro RJ - 7th National Salon of Visual Arts - Salon of 31, MAM/RJ
1984 - Rio de Janeiro RJ - Solo exhibition, Funarte. Galeria Sérgio Milliet
1984 - Rio de Janeiro RJ - Urban Space Interventions, Funarte. Galeria Sérgio Milliet
1984 - Rio de Janeiro RJ - Salon of 31, Funarte
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, Fundação Bienal
1985 - Belo Horizonte MG - Solo exhibition, Fundação Clóvis Salgado, Palácio das Artes
1985 - Campinas SP - Solo exhibition, Galeria de Arte Unicamp
1985 - Salvador BA - Flávio de Carvalho: Retrospective, Núcleo de Artes do Desenbanco
1985 - São Paulo SP - 18th São Paulo International Biennial, Fundação Bienal
1985 - São Paulo SP - The Art of the Imaginary, Galeria Encontro das Artes
1985 - Vitória ES - Solo exhibition, Itaugaleria
1987 - Paris (France) - Modernity: 20th-Century Brazilian Art, Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Homage to Gilberto Chateaubriand, MAM/RJ
1987 - São Paulo SP - 19th São Paulo International Biennial, Fundação Bienal
1987 - São Paulo SP - Brazil Painted by National and Foreign Masters: 18th-20th Centuries, Masp
1987 - São Paulo SP - The Craft of Art: Painting, Sesc
1988 - São Paulo SP - MAC 25 Years: Highlights from the Initial Collection, MAC/USP
1988 - São Paulo SP - Modernity: 20th-Century Brazilian Art, MAM/SP
1989 - Recife PE - Memory Game
1989 - Rio de Janeiro RJ - Memory Game, Montesanti Galleria
1989 - São Paulo SP - 20th São Paulo International Biennial, Fundação Bienal
1989 - São Paulo SP - Memory Game, Galeria Montesanti Roesler
1990 - Chicago (USA) - Brazil: Crossroads of Modern Arts, Randolph Gallery
1990 - Chicago (USA) - Singular Expressions of Brazilian Art, Chicago Cultural Center
1990 - São Paulo SP - The Art Collection of the Municipality of São Paulo, Masp
1990 - São Paulo SP - Modernist Furniture: First Phase, Associação Pró Parque Modernista
1991 - Belo Horizonte MG - Two Portraits of Art, MAP
1991 - Brasília DF - Two Portraits of Art, Museu Histórico e Diplomático, Palácio Itamaraty
1991 - Curitiba PR - Two Portraits of Art, Fundação Cultural de Curitiba, Solar do Barão
1991 - Porto Alegre RS - Two Portraits of Art, Margs
1991 - Recife PE - Two Portraits of Art, Museu do Estado de Pernambuco
1991 - Rio de Janeiro RJ - Two Portraits of Art, MAM/RJ
1991 - Salvador BA - Two Portraits of Art, Museu de Arte da Bahia
1991 - São Paulo SP - Two Portraits of Art, MAC/USP
1991 - São Paulo SP - Singular Expressions of Brazilian Art, MAC/USP
1992 - São Paulo SP - Flávio de Carvalho: Drawings, Paulo Figueiredo Galeria de Arte
1992 - São Paulo SP - Sérgio's View of Brazilian Art: Drawings and Paintings, Biblioteca Municipal Mário de Andrade
1992 - São Paulo SP - First Anniversary of Grifo Galeria de Arte, Grifo Galeria de Arte
1993 - Poços de Caldas MG - Mário de Andrade Collection: Modernism in 50 Works on Paper, Casa de Cultura
1993 - Rio de Janeiro RJ - Brazil: 100 Years of Modern Art, MNBA
1993 - Rio de Janeiro RJ - Emblems of the Body: The Nude in Brazilian Modern Art, CCBB
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, Galeria de Arte do Sesi
1993 - São Paulo SP - Modernism in the Museu de Arte Brasileira: Painting, MAB/Faap
1994 - Poços de Caldas MG - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, Casa da Cultura
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, MAM/RJ
1994 - São Paulo SP - Brazil 20th Century Biennial, Fundação Bienal
1995 - Rio de Janeiro RJ - Unibanco Collection: Commemorative Exhibition for 70 Years of Unibanco, MAM/RJ
1996 - São Paulo SP - Brazilian Art: 50 Years in the MAC/USP Collection: 1920-1970, MAC/USP
1996 - São Paulo SP - Figure and Landscape in the MAM Collection: Homage to Volpi, MAM/SP
1996 - São Paulo SP - The World of Mario Schenberg, Casa das Rosas
1997 - São Paulo SP - Masters of Expressionism in Brazil, Masp
1998 - Belo Horizonte MG - The Support of the Word, Itaú Cultural
1998 - São Paulo SP - 24th São Paulo International Biennial, Fundação Bienal
1998 - São Paulo SP - The Art of Exhibiting Art, MAM/SP
1998 - São Paulo SP - Constructive Art in Brazil: Adolpho Leirner Collection, MAM/SP
1998 - São Paulo SP - MAM Bahia Collection: Paintings, MAM/SP
1998 - São Paulo SP - Highlights from the Unibanco Collection, Instituto Moreira Salles
1998 - São Paulo SP - Brazilian Fantasy: IV Centenary Ballet, Sesc Belenzinho
1998 - São Paulo SP - Paulist Iconography in Private Collections, Museu da Casa Brasileira
1998 - São Paulo SP - The Collector, MAM/SP
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, Masp
1998 - São Paulo SP - The Support of the Word, MAM/SP
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, Galeria de Arte do Sesi
1999 - Rio de Janeiro RJ - Constructive Art in Brazil: Adolpho Leirner Collection, MAM/RJ
1999 - Rio de Janeiro RJ - Flávio de Carvalho: 100 Years of a Romantic Revolutionary, CCBB
1999 - Rio de Janeiro RJ - Rio Print Show. Guita and José Mindlin Collection, Espaço Cultural dos Correios
1999 - São Paulo SP - The Female Figure in the MAB Collection, MAB/Faap
1999 - São Paulo SP - Everyday/Art. Consumption, Itaú Cultural
1999 - São Paulo SP - Flávio de Carvalho: 100 Years of a Romantic Revolutionary, MAB/Faap
1999 - São Paulo SP - The Dance of the Dead God
1999 - São Paulo SP - Works on Paper: From Modernism to Abstraction, Dan Galeria
2000 - Lisbon (Portugal) - Brasil-brasis: Remarkable and Astonishing Things. Modernist Views, Museu do Chiado
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, Centro de Arte Moderna José de Azeredo Perdigão
2000 - São Paulo SP - The Female Figure in the MAB Collection, MAB/Faap
2000 - São Paulo SP - Brazil + 500: Rediscovery Exhibition, Fundação Bienal
2000 - São Paulo SP - The Role of Art, Galeria de Arte do Sesi
2000 - São Paulo SP - São Paulo: From Village to Metropolis, Galeria Masp Prestes Maia
2000 - Valencia (Spain) - From Anthropophagy to Brasília: Brazil 1920-1950, IVAM. Centre Julio Gonzáles
2001 - Campinas SP - (Almost) Ephemeral Art, Itaú Cultural
2001 - Rio de Janeiro RJ - Brazilian Watercolor, Centro Cultural Light
2001 - São Paulo SP - 30 Masters of Painting in Brazil, Masp
2001 - São Paulo SP - The Persistence of Traditional Genres in Art: Portrait, Landscape, Still Life, MAM/SP
2001 - São Paulo SP - Self-Portrait: The Artist's Mirror, Galeria de Arte do Sesi
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, MAB/Faap
2002 - Porto Alegre RS - Drawings, Prints, Sculptures and Watercolors, Garagem de Arte
2002 - Rio de Janeiro RJ - Archipelagos: The Plural Universe of MAM, MAM/RJ
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From Modernist Restlessness to Autonomy of Language, CCBB
2002 - Rio de Janeiro RJ - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, MAM/RJ
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From Modernist Restlessness to Autonomy of Language, CCBB
2002 - São Paulo SP - From Anthropophagy to Brasília: Brazil 1920-1950, MAB/Faap
2002 - São Paulo SP - Modernism: From the Week of 22 to Sérgio Milliet's Art Section, CCSP
2002 - São Paulo SP - Open Opera: Celebration, Casa das Rosas
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From Modernist Restlessness to Autonomy of Language, CCBB
2003 - Rio de Janeiro RJ - Brazilian Art: From the 1930 Revolution to the Post-War, MAM/RJ
2003 - Rio de Janeiro RJ - Autonomy of Drawing, MAM/RJ
2003 - São Paulo SP - The Modernist Adventure of Berta Singerman: An Argentine Voice in Brazil, Museu Lasar Segall
2003 - São Paulo SP - Art-Knowledge: 70 Years of USP, MAC/USP
2003 - São Paulo SP - Compressors and Condensers, MAM/SP
2003 - São Paulo SP - Entre Aberto, Gravura Brasileira
2003 - São Paulo SP - Portraits, MAB/Faap
2003 - São Paulo SP - Tomie Ohtake in the Spiritual Fabric of Brazilian Art, Instituto Tomie Ohtake
2004 - Rio de Janeiro RJ - 90 Years of Tomie Ohtake, MNBA
2004 - Rio de Janeiro RJ - Tomie Ohtake in the Spiritual Fabric of Brazilian Art, MNBA
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, Itaú Cultural
2004 - São Paulo SP - Plataforma São Paulo 450 Years, MAC/USP
2004 - São Paulo SP - Collection Room, Ricardo Camargo Galeria
2005 - São Paulo SP - The Body in Contemporary Brazilian Art, Itaú Cultural