Vik Muniz (São Paulo, SP - 1961)
Vik Muniz is an internationally renowned Brazilian visual artist, recognized for his innovative work in photography, drawing, painting and printmaking. Born in São Paulo on December 20, 1961, as Vicente José de Oliveira Muniz, Vik Muniz has built a career marked by technical and conceptual experimentation, establishing himself as one of the leading names of contemporary Brazilian art on the global stage. He currently lives and works in the United States.
Vik Muniz graduated in Advertising from the Fundação Armando Álvares Penteado (FAAP) in São Paulo and moved to New York in 1983, where he began his international career. During this period, he began investigating the relationship between sculpture and photography, developing his own language based on the reconstruction of images and the transformation of everyday materials into works of great visual impact.
Vik Muniz's production, consolidated from the late 1980s, explores themes such as memory, perception and representation. The artist became known for his use of unconventional materials such as sugar, chocolate, ketchup, dust, scrap and industrial waste. These compositions are assembled by hand and then photographed, creating works that exist simultaneously as installation and as photographic image.
Among Vik Muniz's best-known series are The Best of Life (1988), in which he recreates from memory images from Life magazine, and Sugar Children (1996), a series portraying the children of sugar plantation workers on the island of St. Kitts using sugar on paper. These works reinforce his investigation of collective memory, visual culture, the media and the boundaries between original and reproduction.
Throughout his career, Vik Muniz has expanded his production to large-scale projects, including images made with garbage and interventions in the landscape. One of his best-known works is the documentary Waste Land (2010), directed by Lucy Walker, which follows his collaboration with recyclable-material pickers at the Jardim Gramacho landfill in Rio de Janeiro. The film won awards at international festivals such as Sundance and Berlin and was nominated for the Academy Award for Best Documentary.
The social dimension also plays an important role in Vik Muniz's work. In several projects, the artist involves communities in the creative process, turning artistic practice into an experience of collective collaboration. In 2007, he made a series of chocolate portraits for the Neiman Marcus Christmas Book, donating the proceeds to social initiatives in Brazil.
Vik Muniz's work has been shown at major international institutions such as PS1 Contemporary Art Museum, the Seattle Art Museum, the Musée d’Art Contemporain de Montréal and the Museum of Contemporary Art Australia, and is held in collections such as Tate Modern, the Victoria & Albert Museum, the Getty Research Institute, the Museu de Arte Moderna de São Paulo (MAM-SP) and Instituto Inhotim.
Also recognized for his cultural contribution, Vik Muniz was named a UNESCO Goodwill Ambassador. His production, marked by technical innovation, experimentation with materials and critical reflection on the image, has established Vik Muniz as one of the most influential and relevant Brazilian artists in international contemporary art.
Critical Commentary
Vik Muniz trained in Advertising at the Fundação Armando Álvares Penteado (FAAP) in São Paulo before moving to New York in 1983, where he began to establish himself in the international art circuit. In this period, after a brief involvement with sculpture, the artist turned more systematically to photography, developing a visual language that would become central to his production. Vik Muniz's work stands out for recreating iconic images from art history and visual culture with unconventional materials such as paper, cotton, magazines, sugar, liquid chocolate and dust, critically exploring the relationship between image, matter and perception.
In series made with liquid chocolate, Vik Muniz reinterprets classic compositions such as The Deposition, attributed to Caravaggio, and Hans Namuth's iconic photograph of Jackson Pollock. In these works, precisely built with eyedroppers, the artist reinforces the performative dimension of the creative process. After being photographed, the compositions are deliberately destroyed, emphasizing the ephemeral nature of the image and challenging the idea of permanence in contemporary art. This procedure reinforces the play between illusion and materiality that characterizes Vik Muniz's production.
In 2000, Vik Muniz published Clayton Days, the result of his residency at the Frick Art & Historical Center in Pittsburgh. The series presents photographs that reinterpret daily life in Henry Clay Frick's home from a lowered viewpoint, suggesting a gaze associated with childhood and the subjective reconstruction of memory. The project shows the artist's interest in fragmented narratives and in transforming historical settings into fictional constructions in which memory, invention and observation overlap.
In the series Pictures of Magazines (2003), Vik Muniz uses magazine fragments to build portraits of public and anonymous figures, including Pelé, then-president Luiz Inácio Lula da Silva and an unidentified flower seller. By taking apart and recomposing printed images, the artist investigates the instability of the gaze and the way photography can be at once index and construction. The use of editorial materials reinforces his critique of the mechanisms by which images circulate and are consumed in contemporary culture.
Through this research, Vik Muniz's production broadens the field of photography by engaging directly with practices such as drawing and painting, without being confined to their traditional definitions. His work prompts a constant rethinking of the limits of representing reality, shifting photography from its documentary role to a conceptual and material dimension. In this process, the artist establishes an active relationship between work, process and viewer, in which perception is continually reorganized and questioned within Brazilian and international contemporary art.
Critiques
Nelson Aguilar
Memory as a Starting Point and the Fight Against Forgetting
"First of all, Vik establishes a relationship between drawing and photography, between memory and the present, since he takes as his starting point and reminiscence a famous image, for example, that of John Lennon in Manhattan. He draws the cliché from memory. At this stage, the most sought-after skill is that of retention, as if all reproductions of that image had disappeared and as if we relied solely on Vik's talent and memory to bring it back to life. Sometimes he interrogates people to complete this puzzle. Little by little, the tragic figure of the Beatle appears, as if it were about to take shape in the developer's basin. Obviously, the image was frozen forever in the public eye, truly a synthesis of what would happen: be it the name of the city where he would be assassinated, written on his T-shirt, his arms crossed as if awaiting his executioner, and his star-shaped sunglasses. He sketches the sphinx-like face of the rock band's most articulate member and, finally, the fence behind him. However, the drawing is not Vik's final product. The drawing preserves the traces of his mortal struggle against oblivion. He then photographs the drawing and develops it on paper that can give it the same grain as a wirephoto. He proceeds in the same way with the memory of the first man to set foot on the moon, the execution of a Viet Cong suspect, the girl running naked down the road after the napalm fell. All these clichés come from a selection of the best photos produced by Life magazine, the first book Vik bought in the United States upon his arrival there in 1983, when he had a rudimentary knowledge of English. The series 'The Best of Life,' produced between 1988 and 1990, thus refers to the recapture of a moment when he felt exiled, lost, and isolated. To become an artist, what he lacked was to reproduce this state, as if the recovery of the time he had rediscovered provided him with the definitive key to his vocation.
Source: AGUILAR, Nelson. EXHIBITION of Rediscovery. Contemporary Art. General curator: Nelson Aguilar; presentation: Edemar Cid Ferreira. São Paulo, 255 p., 2000. p. 212.
Aracy Amaral
Technique, virtuosity, and recreation with unusual materials
"There are some traits in Vik Muniz (...) that we would like to address. First, his commitment to 'making,' and not just the conception of a work, which is the tone of his production. In this 'making,' his technical mastery to carry out an idea is implicit. Starting from a copy of a work of art or a photograph, he meticulously and competently selects certain artists from the history of art—Corot, Courbet, Monet, Da Vinci, Caravaggio, Rothko, Morris—out of challenge or admiration?—reproducing the work of 'another' in his own way. (...)
In the case of Vik Muniz, when he reproduces the work of 'another' in his own way, we refer to the materials he uses, different from those employed in the work he selected. Photographs reproduced with sugar or garbage, or a Last Supper recreated with liquid chocolate imply a highly creative poetic license. It is known that, in the history of art, this artist is not alone in his procedures. Arcimboldo, in the sixteenth century, composed, with rare inventiveness, character profiles in artificial 'assemblages' of fruits, vegetables, and greens. (...)
In the series made with liquid chocolate, for example, we know that Vik reconstructed these images using a dropper, with almost oriental patience, and this process continued by quickly photographing the image fixed (...) in Cibachrome. The artist's process, decidedly Mannerist, is surprising both for the similarity of the original image to the one reproduced and for the freshness of the shimmering shine of the delicious chocolate color that emerges in these works. (...)
Could it be said that his procedure is inherited from the pop movement of the 1960s? Perhaps, since the artists of that decade (be it Jasper Johns, Oldenburg, Warhol, or Lichtenstein, just to name a few) copied ad infinitum newspaper pages, photographs of famous people, and repainted cans of beer or represented soup cans, they recreated advertisements and environments typical of North American visual culture of the time, with lightness and a sense of humor that also approaches that implicit in Vik Muniz's artistic work.
Copy and multiple, as we know, have existed since machines were invented. And Vik Muniz relies on them, making photography the final product of his work. It is for this reason that we always keep in mind this visual artist, draftsman, and painter who uses line or mixed media, but who opts for photography, with a limited print run for each work. He is, therefore, within his time and, simultaneously and contradictorily, outside of it, by making the strictly artisanal, manual, his work process. For this very reason, he surprises and intrigues us with the latent paradox between the process and the intriguing end result. (...)
But this is only one facet of Vik Muniz's work. As a draftsman, he emerges full of poetry when his line flows in pure linearity with a simple thread of wire, fixing, with maximum economy, everyday objects: a swing, a roll of toilet paper, a light summer dress drying on the clothesline. Images created for later photographic documentation, always the final product of his work. In this particular series, he demonstrates that poetics is alive when there is technical mastery, when an idea guides the work, when there is a concept to pursue, in short. (...)
Another impressive fact about this artist is that he does not cultivate copying as a mere reinterpretation or capture of a process solely to obtain the composition of an image (...). He is not interested only in perfect copies, pastiches of recognized works or famous photographs. What is evident, along with his virtuosity and erudition, is that, starting from an image—from a representation—in the solitude of the patient elaboration of his works, a positive diversity emerges in the choice of media for his 'matrices'—perforated paper, cotton, liquid chocolate, sugar, trash, wire, dust, sawdust, jam, dulce de leche, pins, Pantone. However, the success that has surrounded his presentations is also a challenge, due to the excessive pressure from the market and institutions. May it therefore endure, with the necessary quality control, so that we remain enchanted by the humorous, extraordinary, playful, 'funny,' and wonderful aspect of Vik Muniz's creative act."
Source: AMARAL, Aracy. Vik Muniz: Illusionism Beyond Specular Appearance. In: MUNIZ, Vik. Seeing is Believing. Text by Aracy Amaral, Beth Wilson. São Paulo: MAM, 2001. p. 20-24.
Solo Exhibitions
1988 - New York, USA - Solo, PS122
1988 - New York, USA - Solo, Stux Gallery
1989 - New York, USA - Solo, Stux Gallery
1990 - New York, USA - Solo, Stux Gallery
1990 - San Francisco, USA - Solo, Stephan Wirtz Gallery
1990 - Santa Monica, USA - Solo, Meyers/Bloom Gallery
1991 - Barcelona, Spain - Solo, Galeria Berini
1991 - Cologne, Germany - Solo, Kicken-Pausebach
1991 - New York, USA - The Best of LIFE, Stux Gallery
1991 - Paris, France - Solo, Galerie Claudine Papillon
1991 - São Paulo, Brazil - Solo, Gabinete de Arte Raquel Arnaud
1992 - Luxembourg - Solo, Gallerie Beaumont
1992 - New York, USA - Solo, Stux Gallery
1992 - Turin, Italy - Solo, Claudio Botello Arte
1993 - New York, USA and Verona, Italy - Equivalents, Tricia Collins Contemporary Art and Ponte Pietra Gallery
1994 - New York, USA - Representations, Wooster Gardens
1994 - Turin, Italy - Solo, Claudio Botello Gallery
1995 - São Paulo, Brazil - The Wire Pictures, Galeria Camargo Vilaça
1996 - Curitiba, Brazil - Solo, Galeria Casa da Imagem
1996 - New York, USA - The Best of Life, Wooster Gardens
1996 - New York, USA - The Sugar Children, Tricia Collins Contemporary Art
1996 - San Francisco, USA - Pantomimes, Rena Bransten Gallery
1996 - São Paulo, Brazil - Solo, Galeria Camargo Vilaça
1997 - New York, USA - Pictures of Thread, Wooster Gardens
1997 - Santa Monica, USA - Solo, Dan Bernier Gallery
1997 - São Paulo, Brazil - Solo, Galeria Camargo Vilaça
1998 - Lisbon, Portugal - Solo, Galeria Módulo
1998 - New York, USA - Flora Industrialis, Brent Sikkema Gallery
1998 - New York, USA - Seeing is Believing, International Center of Photography
1998 - San Francisco, USA - Solo, Rena Bransten Gallery
1999 - Chicago, USA - Seeing is Believing, Museum of Contemporary Photography, Columbia College
1999 - Stockholm, Sweden - Solo, Galeri Lars Bohman
1999 - Honolulu, USA - Solo, The Contemporary Museum
1999 - Milan, Italy - Solo, Photo & Co
1999 - New York, USA - Beyond the Edges, The Metropolitan Museum of Art
1999 - Paris, France - Flora Industrialis, Caisse des Dèpôts et Consignations
1999 - Paris, France - Fresh Paint, Galerie Renos Xippas
1999 - Paris, France - Solo, Centre National de la Photographie
1999 - Rome, Italy - Solo, Gian Enzo Sperone Gallery
1999 - Tucson, USA - Seeing is Believing, Center for Creative Photography, University of Arizona
2000 - Amsterdam, Netherlands - Solo, Foundation Huis Marseille
2000 - Honolulu, USA - Seeing is Believing, The Contemporary Museum
2000 - Lausanne, Switzerland - Images Pièges, Musée de l´Elysee
2000 - New York, USA - Photographs & Personal Articles, Ubu Gallery
2000 - New York, USA - Pictures of Ink, Brent Sikkema Gallery
2000 - Pittsburgh, USA - Clayton Days: picture stories, The Frick Art & Historical Center
2000 - San Francisco, USA - Earthworks, Rena Bransten Gallery
2000 - São Paulo, Brazil - O Objeto Invisível, Galeria Camargo Vilaça
2000 - Saratoga Springs, USA - Vik Muniz: a retrospective, The Tang Teaching Museum and Art Gallery at Skidmore College
2000 - Tokyo, Japan - Solo, Gallery Gan
2001 - Madrid, Spain - Solo, Galería Elba Benítez
2001 - New York, USA - The Things Themselves: pictures of dust, Whitney Museum of American Art
2001 - Recife, Brazil - Ver é crer, Mamam
2001 - Rio de Janeiro, Brazil - Ver para Crer, MAM/RJ
2001 - São Paulo, Brazil - Clayton Days: picture stories, Instituto Cine Cultural
2001 - São Paulo, Brazil - Solo, Galeria Fortes Vilaça
2001 - São Paulo, Brazil - Ver para Crer, MAM/SP
2002 - Fortaleza, Brazil - Pictures of Earthworks: the Sarzedo drawings, Centro Dragão do Mar de Arte e Cultura
2003 - Rio de Janeiro, Brazil - Retratos de Revista, Paço Imperial
2003 - São Paulo, Brazil - Vik Muniz: trabalhos monádicos e fotografias, Galeria Fortes Vilaça
2004 - São Paulo, Brazil - Retratos de Revista, Pinacoteca do Estado
2005 - São Paulo, Brazil - Divas e Monstros, CCBB
Group Exhibitions
1988 - New York, USA - Gravity and Blindness, PS 122
1988 - Santa Monica, USA - The New Poverty II, Meyers/Bloom Gallery
1989 - Cologne, West Germany (now Germany) - Wortlaut: Konzepte Zwischen Visueller Poesie & Fluxus, Galerie Schüppenhauer
1989 - Diepenheim, Netherlands - De Rozeboomkamer, Beeldenroute Foundation
1989 - New York, USA - Buena Vista, John Gibson Gallery
1989 - New York, USA - Group Exhibition, Craig Cornelius Gallery
1989 - New York, USA - Group Exhibition, Stux Gallery
1989 - New York, USA - Fluxus and Friend, Emily Harvey Gallery
1989 - New York, USA - Frames of Reference, The Gallery
1989 - New York, USA - Obscured, Josh Baer Gallery
1989 - New York, USA - The Contemporary Triptych, Jamison/Thomas Gallery
1989 - New York, USA - The Last Laugh; Humor, Irony, Self-Mockery & Derision, Massimo Audiello Gallery
1989 - Santa Monica, USA - Group Exhibition, Karl Bornstein Gallery
1990 - Amsterdam, Netherlands - Non Sculpture, Galerie Barbara Farber
1990 - Baltimore, USA - Group Exhibition, Baltimore Sales and Rental Gallery, Baltimore Museum
1990 - Barcelona, Spain - Group Exhibition, Fernando Alcolea
1990 - Cleveland, USA - On the Edge Between Sculpture and Photography, Cleveland Center for Contemporary Art
1990 - Dayton, USA - Assembled, Wright State University
1990 - Düren, Germany - 3rd International Biennale der Papierkunst 19, Leopold-Hoesch Museum
1990 - New York, USA - Constructed Illusion, Pace MacGill Gallery
1990 - New York, USA - Drawing, Althea Viafora
1990 - New York, USA - Frames of Reference, The Gallery
1990 - New York, USA - Framing Cartoons: In and Out of Context, Loughelton Gallery
1990 - New York, USA - Semi-Objects, John Good Gallery
1990 - New York, USA - Stuttering, Stux Gallery
1990 - New York, USA - Total Metal, Simon Watson Gallery
1990 - Paris, France - All's Quiet On The Western Front, Espace Dieu, Galerie Antoine Candau
1990 - Paris, France - U.S.A. Annees 90, Galerie Antoine Candau, l'Espace-dieu
1990 - San Francisco, USA - Functional Fantasy, TransAmerica Pyramid Lobby
1991 - Akron, USA - The Encompassing Eye, Photography as Drawing, University Art Galleries, University of Akron
1991 - Amsterdam, Netherlands - The Neighborhood, A.I.R.
1991 - Aosta, Italy - Theoretically Yours
1991 - Atlanta, USA - Outside America, Fay Gold Gallery
1991 - Bologna, Italy - Anni Novanta, Galleria d'Arte Moderna
1991 - Hartford, USA - Mike Kelley/Vik Muniz/Jim Shaw, Real Art Ways
1991 - Hartford, USA - The Fetish of Knowledge, Real Art Ways
1991 - New York, USA - Ornament, John Post Lee
1991 - New York, USA - SummerReview 91, Stux Gallery
1991 - New York, USA - Timely Objects with Ironic Tendencies, Rosa Esman Gallery
1991 - New York, USA & Brescia, Italy - Dissimilar Identity, Scott Alan Gallery & Museo Ken Damy di Fotografia Contemporanea
1991 - Paris, France - Gallery Artists, Galerie Claudine Papillon
1991 - Paris, France - Real Fake, Fondation Cartier, Jouy-en-Josas
1991 - Pittsburgh, USA - Emil Lucas/Vik Muniz/Jim Hyde, Steve Mendelson Gallery
1991 - San Francisco, USA - Framed, Stephen Wirtz Gallery
1991 - Santa Monica, USA - The-Art-Over-The-Sofa Exhibit, Boritzer/Gray Gallery
1991 - Turin, Italy - The New Low, Galleria Claudio Bottello
1992 - Aosta (Italy) - Theoretically Yours
1992 - Brescia (Italy) - Oltrefoto, at Museo Ken Damy di Fotografia Contemporanea
1992 - New York (United States) - Brent Sikkema Fine Arts
1992 - New York (United States) - Detour, at The International House
1992 - New York (United States) - International House
1992 - New York (United States) - Les Enfants Terribles, at Wooster Garden
1992 - New York (United States) - Multiple Orgasm, at Arena
1992 - New York (United States) - Re: Parceling Perception, at Four Walls
1992 - Paris (France) - Diversite Latino Americaine, at Gallery 1900/2000
1992 - Paris (France) - Gallery Artists, at Galerie Claudine Papillon
1992 - Paris (France) - Selective Passage, at Jusse Segan
1992 - Prato (Italy) - Life Size: Small, Medium, Large, at Museo D'Arte Contemporaneo Luigi Pecci
1992 - Prato (Italy) - The Collection, at Centro per l'arte Contemporaneo Luigi Pecci
1992 - Ridgefield (United States) - Multiples, at The Aldrich Museum of Art
1993 - Italy - Sound, at Museo D'Arte Moderna-Bolzano
1993 - Loreto (United States) - The Alternative Eye: Photography for the 90's, at Southern Alleghenies Museum
1993 - New York (United States) - Group Show, at Wooster Gardens
1993 - New York (United States) - Group Show, at Tom Cugliani Gallery
1993 - New York (United States) - Elvis Has Left the Building
1993 - New York (United States) - Hypercathexis: Layers of Experience, at Stux Gallery
1993 - New York (United States) - Jean-Francois Millet, A Dialogue, at Phillpe Briet Gallery
1993 - New York (United States) - Moving Shadows, at Tennisport Arts
1993 - New York (United States) - Wasteland, at Dooley Le Cappellaine Gallery
1993 - Paris (France) - Jours Tranquilles a Clichy
1993 - Post-Verbum, Pallazzo della Regione Bergamo
1993 - Turin (Italy) - Time to Time, at Castello di Rivara
1994 - Frankfurt (Germany) - Jetleg, at Galerie Martina Detterer
1994 - Hartford (United States) - Garbage, at Real Art Ways
1994 - New York (United States) - A Fistful of Flowers, at Grand Salon
1994 - New York (United States) - Across The River And Into The Woods, The Rushmore Festival at Woodbury, NY, curated by Collins and Milazzo
1994 - New York (United States) - Crash, The Thread Waxing Space, NYC, NY
1994 - New York (United States) - Possible Things, at Marcel Sitcoske
1994 - New York (United States) - Single Cell Creatures, at Katonah Museum of Art, Katonah
1994 - New York (United States) - Up the Stablishment: Reconstructing The Counterculture, at Sonnabend Gallery
1995 - Curitiba PR - Mostra America, at Fundação Cultural de Curitiba
1995 - Dallas (United States) - Blindspot, at The MAC, Dallas Artist Research and Exhibition
1995 - Houston (United States) - Changing Perspectives, at Contemporary Art Museum
1995 - Los Angeles (United States) - Recent Acquisitions, at Los Angeles County Museum
1995 - New York (United States) - A Drawing, at Bravin Post Lee Gallery
1995 - New York (United States) - Garbage, at Thread Waxing Space
1995 - New York (United States) - Group Show, at Margareth Murray Fine Arts
1995 - New York (United States) - The Cultured Tourist, at Center for Photography at Woodstock
1995 - New York (United States) - Wheel of Fortune, at Lombard/Fried Gallery
1995 - Rio de Janeiro RJ - 24th Panorama of Brazilian Art, at MAM/RJ
1995 - San Francisco (United States) - Blue, at Steven Wirtz Gallery
1995 - San Francisco (United States) - Group Show, at Steven Wirtz Gallery
1995 - San Francisco (United States) - The Photographic Condition, at San Francisco Museum of Modern Art
1995 - São Paulo SP - Panorama of Brazilian Contemporary Art, MAM/SP
1995 - São Paulo SP - 24th Panorama of Brazilian Art, at MAM/SP
1995 - Verona (Italy) - Nonsolofotografia, at Galleria Ponte Pietra
1996 - Chicago (United States) - Some Assembly Required, at The Art Institute of Chicago
1996 - Graz (Austria) - Inclusion/Exclusion, at Steirischer Herbst
1996 - New York (United States) - Recent Acquisitions, at The Metropolitan Museum of Art
1996 - New York (United States) - The Subverted Object, at UBU Gallery
1996 - Rio de Janeiro RJ - New Acquisitions, MAM/RJ
1996 - San Jose (United States) - Shadow Play, at Institute of Contemporary Art
1996 - Santa Fe (United States) - Material Matters, at A.O.I. Gallery
1996 - São Paulo SP - Bis, at Galeria Camargo Vilaça
1996 - Zurich (Switzerland) - Wesenchau: Disingenuous Images, at Galerie Renee Ziegler
1997 - Blérancourt (France) - Une Fleur des Photographes: L'Arum, at Musée National de la Coopération franco-américaine, Chateau de Blérancourt
1997 - Chicago (United States) - New Faces and Other Recent Acquisitions, at The Art Institute of Chicago
1997 - Mexico City (Mexico) - New Faces and Other Recent Acquisitions, at Centro Arte Contemporaneo
1997 - New York (United States) - 20 Years, Almost, at Robert Miller Gallery
1997 - New York (United States) - Hope, at The National Arts Club
1997 - New York (United States) - New Photography 13, at Museum of Modern Art
1997 - New York (United States) - Normotic, at One Great Jones
1997 - New York (United States) - One Line Drawing, at UBU Gallery
1997 - New York (United States) - Ut Scientia Pictura, at Paolo Baldacci Gallery
1997 - Paris (France) - Artistes Latino-Americains, at Daniel Templon
1997 - Paris - Photographie d'une Collection, at Caisse des Dépôts et Consignations, 13 Quai Voltaire
1997 - San Francisco (United States) - Pool, at Rena Bransten Gallery
1997 - Valencia (Spain) - Colección Ordônez Falcón de Fotografia, at IVAM. Centre Julio Gonzalez
1998 - Berlin (Germany) - Coleção Gilberto Chateaubriand, MAM/RJ, at Haus der Kulturen der Welt
1998 - Copenhagen (Denmark) - The Garden of the Forking Paths, at Kunstforeningen
1998 - London (England) - Group Exhibition, at The Cannon Gallery for Photography and The Victoria and Albert Museum
1998 - Memphis (United States) - The Cottingley Fairies and Other Apparitions, at The Brooks Museum of Art
1998 - New York (United States) - Internality/Externality, at Galerie Lelong
1998 - New York (United States) - The Cultured Tourist, at Leslie Tonkonow
1998 - Paris (France) - La Collection II, at Fondation Cartier pour l'art contemporain
1998 - Paris (France) - Le Donné, le fictif, at Centre National de la Photographie
1998 - Rio de Janeiro RJ - Brazilian Art in the Collection of the São Paulo Museum of Modern Art: Recent Donations 1996–1998, at CCBB
1998 - Rio de Janeiro RJ - Horizonte Reflexivo, at Centro Cultural Light
1998 - Salzburg (Austria) - Das Maß der Dinge, at Ursula Blickle Stiftung
1998 - Kraichtal (Germany) - Das Maß der Dinge, at Galerie Im Traklhaus
1998 - San Diego (United States) - Double Trouble, The Patchett Collection, at Museum of Contemporary Art
1998 - San Francisco (United States) - Food, at Marcel Sitcoske Gallery
1998 - San Jose (United States) - In Over Our Heads: The Image of Water in Contemporary Art, at San Jose Museum of Art
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - City Canibal, at Paço das Artes
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Coleção Gilberto Chateaubriand - MAM/RJ, at MASP
1998 - São Paulo SP - Urban Canibal, at Paço das Artes
1999 - Bogotá (Colombia) - De Brasil: Alquimias y Procesos, at Biblioteca Luis Ángel Arango
1999 - Liverpool (England) - 1st Liverpool Biennial of Contemporary Art, at Tate Gallery
1999 - London (England) - Abracadabra, at The Tate Gallery
1999 - New York (United States) - Museum As Muse: Artist Reflect, at MoMA
1999 - San Francisco (United States) - Eye Candy, at Rena Bransten Gallery
1999 - São João da Boa Vista SP - 2nd Fernando Furlanetto Photography Week, at Teatro Municipal
1999 - Seattle (United States) - Cherry, at James Harris Gallery
2000 - Buenos Aires (Argentina) - Brasil: Plural y Singular, at Museo de Arte Moderno de Buenos Aires
2000 - Curitiba PR - New Trends, at Casa Vermelha
2000 - Guadalajara (Mexico) - America Foto Latina: Photography in Contemporary Art, at Museo de Las Artes de La Universidad de Guadalajara
2000 - Lausanne (Switzerland) - Vik Muniz/Geraldo de Barros, at Musée de l'Elysée
2000 - New York (United States) - 2000 Whitney Biennial, at Whitney Museum of American Art
2000 - Rio de Janeiro RJ - Gilberto Gil: The Image of Sound, at Paço Imperial
2000 - Salvador BA - The Quietude of the Earth: Daily Life, Contemporary Art, and Projeto Axé, at MAM/BA
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Brazil + 500: Exhibition of Rediscovery, at Fundação Bienal
2000 - São Paulo SP - End of the Millennium: The 1990s at MAM, at MAM/SP
2001 - New York (United States) - Brazil: Body and Soul, at Solomon R. Guggenheim Museum
2001 - Recife PE - Palavraimagem, at Mamam
2001 - Recife PE - Políticas de la Diferencia: Late 20th Century Ibero-American Art, at Pernambuco Convention Center
2001 - Rio de Janeiro RJ - Blind Mirror: Selections from a Contemporary Collection, at Paço Imperial
2001 - Rio de Janeiro RJ - The Spirit of Our Time, at MAM/RJ
2001 - São Paulo SP - Blind Mirror: Selections from a Contemporary Collection, at MAM/SP
2001 - São Paulo SP - Photography/Non-Photography, at MAM/SP
2001 - São Paulo SP - The Spirit of Our Time, at MAM/SP
2001 - São Paulo SP - Rotativa Phase 1, at Galeria Fortes Vilaça
2001 - São Paulo SP - The Trajectory of Light in Brazilian Art, at Itaú Cultural
2001 - Venice (Italy) - 49th Venice Biennale, at Palazzo Fortuny and Giardini
2002 - Buenos Aires (Argentina) - The Thread Unraveled: Contemporary Brazilian Art, at Museo de Arte Latinoamericano de Buenos Aires
2002 - New York (United States) - Tempo, at MoMA
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 - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - Rio de Janeiro RJ - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Cisneros Collection, at MAM/RJ
2002 - São Paulo SP - Photographs in the Collection of the Museu de Arte Moderna de São Paulo, at MAM/SP
2002 - São Paulo SP - Appropriated Images, at MAM/SP
2002 - São Paulo SP - Parallel, at Galpão, Avenida Matarazzo 530
2002 - São Paulo SP - Parallels: Brazilian Art of the Second Half of the 20th Century in Context, Cisneros Collection, at MAM/SP
2003 - Barcelona (Spain) - Mapas Abiertos: Latin American Photography 1991–2002, at Palau de la Virreina
2003 - Brasília DF - Artefoto, at CCBB
2003 - Madrid (Spain) - Mapas Abiertos: Latin American Photography 1991–2002, at Fundación Telefónica
2003 - São Paulo SP - Print Goes Well, Thank You: Historical and Contemporary Brazilian Printmaking, at Espaço Virgílio
2003 - São Paulo SP - The New Geometry, at Galeria Fortes Vilaça
2003 - São Paulo SP - The Subversion of the Means, at Itaú Cultural
2003 - São Paulo SP - MAM Print Collectors Club, at MAM/SP
2003 - São Paulo SP - 28th Panorama of Brazilian Art, at MAM/SP
2004 - Belo Horizonte MG - Pampulha, Collected Works: 1943–2003, at MAP
2004 - Madrid (Spain) - Arco/2004, at Parque Ferial Juan Carlos I
2004 - Rio de Janeiro RJ - Contemporary Brazilian Art in Rio Collections, at MAM/RJ
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Chateaubriand Collection, at MAM/RJ
2004 - Rio de Janeiro RJ - 28th Panorama of Brazilian Art, at Paço Imperial
2004 - São Paulo SP - Summer Bazaar, at Galeria Fortes Vilaça
2004 - São Paulo SP - Photography and Sculpture in the MAM Collection – 1995 to 2004, at MAM/SP
