ARCOmadrid 2026

Luciana Brito galeria

ARCO MADRID 2026

Booth

7B18

ANTONIO PICHILLÁ | Bosco SOdi

caio reisewitz | Geraldo de Barros | Héctor Zamora

Leandro Erlich | Liliana porter | marina Abramovic

regina silveirA | Rochelle Costi

Artist CV

Regina Silveira's artistic research questions traditional forms of visual representation, leading her to explore new possibilities of media and meaning. Her works explore architectural and contextual spaces, often operating through graphic narratives, to create shifts in perception and strangeness, based on the common experience of virtually modified spaces. The artist is known for her research on the principles of perspective, its distortions, and the study of shadows, which she employs in large, site-specific installations. Above all, she uses a variety of media, including not only prints, porcelain, tapestries and laminate cutouts, but also digitally cut vinyl, light projections, video installations and virtual and augmented realities.

With a Bachelor of Arts from the Instituto de Artes do Rio Grande do Sul (1959), a Master's (1980) and a PhD in Art (1984) from the School of Communications and Arts of the Universidade de São Paulo (ECA-USP), her teaching career includes working at Instituto de Artes de Rio Grande do Sul; the Universidade de Puerto Rico, in Mayaguez; FAAP, São Paulo; and ECA-USP. She was a guest artist at the Coimbra Biennial of Contemporary Art, Portugal, in 2024, the São Paulo Biennial in its 1981, 1983, 1998, and 2021 editions, the Curitiba International Biennial in 2013 and 2015, and the Mercosur Biennial in 2001 and 2011. She also participated in the Havana Biennial, Cuba, in 1986, 1998, and 2015; Médiations Biennale, Poznan, Poland, in 2012; the 6th Taipei Biennial, Taiwan, in 2006; and the 2nd Setouchi Triennale, Japan, in 2016. More recently, in 2025, the artist inaugurated her largest commissioned work, Paradise, at IAH Terminal D - George Bush Intercontinental Airport, in Houston, USA, in addition to solo exhibitions at the Instituto Arte Contemporânea (USP), in São Paulo, at La Virreina Centre de La Imatge, Barcelona, ​​Spain, in 2024, and at the Centro de Extensión de la Universidad Católica, in Santiago, Chile. In 2021-22, Regina Silveira presented a major solo exhibition at the Museum of Contemporary Art – MAC-USP, in São Paulo. Additionally, the artist has had her work presented at Paço das Artes, São Paulo, 2020; Brazilian Sculpture Museum – MuBE, São Paulo, Brazil, 2018; Oscar Niemeyer Museum, Curitiba, Brazil, 2015; Amparo Museum, Puebla, Mexico, 2014; Iberê Camargo Foundation, Porto Alegre, Brazil, 2011; Atlas Sztuki Gallery, Lodz, Poland, 2010; MASP-SP, 2010; Museo Nacional Centro de Arte Reina Sofia, Madrid, 2005. Regina also Silveira received the MASP Award (2013), the APCA Career Achievement Award (2011), and the Bunge Foundation Award (2009). He was a fellow of the Fulbright (1994), Pollock-Krasner (1993) and Guggenheim (1990) foundations and her work is represented in numerous public and private collections, such as Usina de Arte (Brazil), Coleção Itaú (Brazil), MAC-USP (Brazil), MASP (Brazil), MAM-RJ/SP (Brazil), MACRS (Brazil), Pinacoteca do Estado de São Paulo (Brazil), MoMA (USA), Phoenix Museum (USA), Museum of Fine Arts Houston (USA), Taipei Fine Arts Museum (Taiwan), Perez Art Museum Miami (USA), among others.

Artist CV

Through references drawn from popular culture and collective memory, Liliana Porter uses devices that border on the fantastic to compose works that subvert the conventions imposed by everyday life and by art itself, creating ambiguous and controversial situations, called “vinhetas teatrais” [theatrical vignettes]. Through a private collection of images and small objects, the artist works on different supports ranging from photography and videos to installations, to present the viewer with allegorical and distorted narratives of reality and time. 

Liliana Porter graduated in visual arts from the Escuela Nacional de Bellas Artes (Buenos Aires, Argentina) and from the Universidad Iberoamericana (Mexico City, Mexico). Residing in the USA since 1964, that same year she founded the New York Graphic Workshop, with Luis Camnitzer and José Guillermo Castillo. In 1974, she participated in the creation of the Studio Camnitzer artist’s residency, in Italy. She has held solo shows at notable venues that include Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina (2025), Centro Cultural Recoleta, Buenos Aires, Argentina (2024, 2003), Hessel Museum of Art - Bard College, New York, USA (2024), San Jose Museum of Art, San Jose, USA (2023), Saint Louis Art Museum, USA (2022), the National Gallery of Art, Warsaw, Poland (2019); the Pérez Museum, Miami, USA (2018); El Museo del Barrio, New York, USA (2018); the Museum of Fine Arts, Boston, USA (2014); MALBA, Buenos Aires, Argentina (2013); Museu Tamayo, Mexico (2009); Phoenix Art Museum, USA (2000); Bronx Museum, USA (1992); the Museo de Arte Moderno, Cali, Colombia (1990); and the Museum of Modern Art (MoMA), New York, USA (1973). She has participated in group shows at many prominent venues, including BIENALSUR, Museo Nacional de Bellas Artes de Chile, Santiago, Chile (2024), Fundación PROA, Buenos Aires, Argentina (2024), Centre Pompidou Malaga, Malaga, Spain (2023), Fundación PROA, Buenos Aires, Argentina (2021), Guggenheim Museum, New York, USA (2019); the Pinacoteca de São Paulo (2018); Brooklyn Museum, USA (2018); the 57th Venice Biennale, Italy (2017); the Whitney Museum of Art, New York, USA (2016); the Museo Nacional de Artes Visuales, Montevideo, Uruguay (2015); the Bienal de Curitiba, Brazil (2011); the Tokyo Metropolitan Museum of Art, Japan (2008); the VI Bienal do Mercosul, Porto Alegre (2007); and the III Bienal Iberoamericana de Lima, Peru (2002). Her works figure in more than 50 public collections, including those of the Whitney Museum (USA), Tate Modern (England), the Smithsonian Institution (USA), MoMA (USA), the Metropolitan Museum (USA), the Museu de Arte Moderna of Rio de Janeiro, MALBA (Argentina), the Museo Nacional Centro de Arte Reina Sofía (Spain), and Daros Latinamerica (Germany).

Artist CV

Héctor Zamora is better known for his research, which involves public spaces and the built environment. In his works, the artist reinvents and redefines conventional spaces – exhibition spaces or others – giving rise to noise between the meanings of public and private, exterior and interior, real and imaginary. If, on the one hand, Héctor Zamora’s work deals with the aesthetic and formal legacy of concretism and other Latin American vanguard movements, on the other, it problematizes social and political questions related to work in a consumer society and to the subversion of architectures, of the city, and of history. 

Héctor holds a degree in graphic design and structural geometry. He has held solo shows at prominent institutions which include NDSM-werf Foundation, Amsterdam, Netherlands (2025), 2025 Commissions Programme, Art Dubai, Emirados Árabes Unidos (2025), MAZ Museo de Arte de Zapopan, Zapopan, Mexico (2024), Museu Marítimo de Ílhavo, Ílhavo, Portugal (2023), The Roof Garden Commission, MET NY, USA (2020); LABOR, Mexico City (2019); Pavilhão Branco (Portugal, 2018); the Museo de Arte Contemporáneo de Monterrey (Mexico, 2017); Fundación RAC (Spain, 2017); the Palais de Tokyo (Spain, 2016); CCBB São Paulo (2016), the Center for Contemporary Art (Los Angeles, USA, 2013) and Itaú Cultural (São Paulo, 2010). He has participated in group shows at venues that include the Desert X, Wadi AlFann, AlUla, Saudi Arabia (2026), Museo de Arte Carrillo Gil, Cidade do México, México (2025),  IJssel Biennale, IJssel River, Deventer, Holanda (2025), Prototipoak Bilbao, Bilbao, Espanha (2025), Instituto Cultural de Mexico, France (2023), Desert X, Coachella Valley Palm Springs, USA (2023); 13th Mercosul Biennial (2022), 4th Mediterranean Biennial, Israel (2021); Hirshhorn Museum, USA (2020); the Centro Galego de Arte Contemporánea, Spain (2018); the 12th Shanghai Biennale, China (2018); MAM-RJ (2014); Guggenheim Museum (USA, 2013); the Museo de Arte de Lima (Peru, 2012); the 54th Venice Biennale (Italy, 2011); the 11th and 14th editions of the Biennale de Lyon (2011 and 2017); the 12th International Cairo Biennale (Egypt, 2010); the 9th and 12th editions of the Bienal de la Habana (2006 and 2015); and the 27th Bienal de São Paulo (2006). Zamora has moreover been awarded prizes from the Graham Foundation Arquitetura + Arte (2011), the Garage Centre for Contemporary Culture (2009), the Pollock-Krasner Foundation (2007), the Cisneros Fontanals Art Foundation (2006), the Jumex Collection Foundation (2006), and others. His works figure in collections of important institutions such as Amparo Museum (Mexico), Fundación RAC (Spain), and Hirshhorn Museum and Sculpture Garden (USA).

Artist CV

Caio Reisewitz’s research takes photography as its main medium. Through technical and thematic refinement, his work evinces an interest in human action and its social and political effects, whether in the natural space or the architectural space. While his photographic technique highlights the dramaticity among shapes, colors and textures, his artistic poetics constructs a nearly dreamlike aesthetic repertoire. These aspects establish a dichotomous dialogue between the real (that which is characteristic of the photographic record) and the chimerical (our own repertoires).

With a degree in visual arts from Mainz University (Germany), Caio Reisewitz has an advanced degree in visual poetics and an MA from the University of São Paulo. The biennials he has participated in include: Bienal de Fotografia de Daegu, Coreia do Sul (2025), 23rd Sydney Biennale (2022), Biennale des Arts 2022 de Nice, France,  the 26th Bienal de São Paulo (2004), the 51st Biennale di Venezia (2005), in Italy, and the Nanjing Biennale (2010), in China. His work has also been shown at the Fundació Mies van der Rohe (2024, Barcelona, Spain), 22nd DongGang International Photo Festival, Dong Gang Museum of Photograph (2024, Coreia do Sul); Museo de Arte Contemporáneo de Castilla y León (MUSAC) (2024, 2023 and 2010, Spain); Instituto Moreira Salles, Rio de Janeiro and São Paulo (2010); the Ella Fontanals-Cisneros Collection Miami (2005, 2010, USA); the International Center of Photography (ICP), New York (2014, USA); the Maison Européenne de la Photographie, Paris (2015, France); the Pinacoteca de São Paulo (2017), as well as at Photo Shanghai (2019, China). In 2026, the artist will participate in a group exhibition at the Ford Foundation in New York (USA). In 2020, he released the book Altamira, published by the Swiss Artphilein Editions SA, based on a collection of the same name acquired by the Pinacoteca de São Paulo. His work figures in important collections such as those of the Cisneros Fontanals Art Foundation (USA); the Fundación ARCO Madrid (Spain); the Collezione Fondazione Giovanni Guastalla (Italy); the Fond National d’Art Contemporain (France); MUSAC (Spain); International Center of Photography - ICP (USA); Maison Européenne de la Photographie (France); the Museu de Arte Moderna (MAM) of São Paulo, of Rio de Janeiro and of Salvador (Brazil); the Musée Malraux (France); and the Pinacoteca de São Paulo (Brazil).

Artist CV

Leandro Erlich’s work explores the artifices of visuality, through sensory and perceptual games. Everyday architecture is a recurrent theme in his work, with which he creates paradoxes between what we believe and what we see, with situations of mystery and questioning. This transgression of limits destabilizes not only our absolute beliefs, but also the limits of art and the legitimizing institutions. Through installations, sculptures, photographs and videos, the artist simulates situations that dislocate our everyday experience and our understanding of the common.

He has held solo shows at many important institutions, most notably: The Reefline, Miami Beach, USA (2025), Amos Rex, Helsinki, Finland (2025), Fundación Macro, Buenos Aires, Argentina (2025), Kunstmuseum Wolfsburg, Wolfsburg, Germany (2024), Liberty Science Center, Jersey City, USA (2023), Palazzo Reale, Milão, Italy (2023), Perez Art Museum Miami - PAMM, Miami, USA (2022), The Museum of Fine Arts Houston, Houston, USA (2022), the roaming of the venues of Centro Cultural Banco do Brasil - CCBB, Brazil (2021-22), Sea World Cultural Center, China (2021), Seoul Museum of Art, South Korea (2020); MALBA, Argentina (2019); the Museum of Contemporary Art, Tokyo, Japan (2013); Barbican Centre, London, England (2013); the Centro Cultural Banco do Brasil, São Paulo (2009); the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain (2008); PS1 MoMA, New York, USA (2008); and the Museo del Barrio, New York, USA (2001). Group shows he has participated in the BOG25: Bienal Internacional de Arte y Ciudad, Bogotá, Colômbia (2025), The Nagi Museum of Contemporary Art, Nagi, Japan (2024), Fundación PROA, Buenos Aires, Argentina (2024), Museo de Arte Contemporáneo de Castilla y León – MUSAC, Spain (2022), Bienal de Cuenca, Ecuador (2016); the Singapore Biennial (2008); the Venice Biennale, Italy (2001, 2005); the Bienal de São Paulo (2004); the Busan Biennale, South Korea (2002); the Bienal de la Habana, Cuba (2000); the I Bienal do Mercosul, Porto Alegre (1997); and an exhibition at Centre Georges Pompidou, Paris, France (2024, 2012). His work figures in public and private collections, such as those of the 21st Century Museum of Art Kanazawa (Japan); the Cisneros Fontanals Art Foundation (USA); the Musée d’Art Moderne de Paris (France); the Museo d’Arte Contemporanea di Roma (Italy); the Museum of Fine Arts, Houston (USA); Daros-Latinamerica (Switzerland); the Fond National d'Art Contemporain de France (France); and Tate Modern (England).

Artist CV

Marina Abramovic became known worldwide for her research in performance art, which as early as the 1960s presented artistic experiences involving the discussion about the limits of the body and the mind, along with a direct relationship between the artist and the public. From the 1980s onward, the artist began to investigate the subjects related to spirituality and religious syncretism, as well as the potentials of the mind, body and spirit, through a connection with nature and the sacred. This investigation took on even greater importance in the artist’s work after her first visit to Brazil, in 1989, when she gained experiences that provided rich material for the production of photographs, videos, sculptures and installations.

Marina Abramovic graduated from the Academy of Fine Arts (Belgrade, 1970), the Academy of Fine Arts (Zagreb, 1972) and from the Art Institute of Chicago (2005). She is a cofounder of the Marina Abramovic Institute (MAI), in New York, a platform for immaterial art and long-duration performances. Her first solo show was held in 1964 at the Workers’ University, in Belgrade; since then, she has presented dozens of solo shows at institutions such as Gran Teatre del Liceu (2026, Barcelona, Spain), The Albertina Modern (2025, Vienna, Austria), Centre Pompidou-Metz (2025, França), Southbank Centre, Londres (2025, Inglaterra), Modern Art Museum Shanghai (2024, China), Usina de Arte, Água Preta (2024, Brazil), Stedelijk Museum, Amsterdam (2024, Netherlands), Royal Academy of Arts (2023, UK), Serpentine Galleries (2019, UK), Sesc Pompeia (2015, Brazil), MoMA (2010, USA), Guggenheim Museum (2005, USA), the Museo Nacional Centro de Arte Reina Sofía (2005, Spain), Neue Nationalgalerie (1992, Germany), the Centre Georges Pompidou (1990, France), the Fundação Calouste Gulbenkian (1986, Portugal) and others. Abramovic has participated in countless group shows, most notably the 45th and the 47th (1993, 1997) editions of the Venice Biennale (winning the Golden Lion Award for Best Artist); dOCUMENTA (13), documenta IX, documenta 8 and documenta 6 (2012, 1992, 1988 and 1977); the 28th, 18th and 16th editions of the Bienal de São Paulo (2008, 1985 and 1981); the 5th and the 13th Bienal do Mercosul (2007); and the 7th Bienal de la Habana (2000). Marina Abramovic also performs the play "7 Deaths of Maria Callas", since 2020 roaming different countries. Her artworks figure in many prominent public and private collections, including those of Cisneros Fontanals Art Foundation, Miami (USA), the Kunstmuseum (Switzerland), Museum Ludwig (Germany), the San Francisco Museum of Modern Art (USA), the Solomon R. Guggenheim Museum (USA), and the Museum of Modern Art (MoMA), New York (USA).

Artist CV

An indigenous artist from the Mayan Tz'utujil people, Antonio Pichillá works with a variety of media, but finds textile weaving as his main focus of interest. For him, the processes and materials that involve textile traditions represent a way of rescuing his ancestry, especially through the memory of the women of his own family. His research is also based on the collectivity, culture and symbols of his people, native from the Lake Atitlan region (Guatemala).

Antonio Pichillá graduated from Escuela Nacional de Artes Plásticas Rafael Rodríguez Padilla, in Guatemala. He is a member of TEI-CA group (Study and Research Workshops in Science and Art). Among his most important solo shows is the one that was featured at the International Centre of Graphic Arts – MGLC (2024, Slovenia), Museum of Contemporary Art Santa Barbara (2023, USA), La Nueva Fábrica, Santa Ana (2022, Guatemala). As for the group shows, the most important are: 24ª Bienal de Arte Paiz (2025, Guatemala City, Guatemala), Barbican Centre (2024, UK), The Institute for Studies on Latin American Art ISLAA (2024, USA), 22nd Bienal Sesc VideoBrazil (2023-24, Brazil), Denver Art Museum (2022, USA); Kathmandu Triennial (2022, Nepal), 11th Berlin Biennial (2020, Germany), Arte Paiz Biennial (2002, 2010 and 2014, Guatemala), etc. His work features in relevant collections, such as Museo d’Art Contemporani de Barcelona - MACBA (Spain), Museo Nacional Centro de Arte Reina Sofía (Spain), Denver Art Museum (USA) and Tate Modern (UK). Some of his prizes are: Intercontinental Indigenous Biennial - Honorable Mention (2012, Mexico) and Juannio Latin American Art Contest / Auction (2017, Guatemala).

Artist CV

Bosco Sodi’s research is outstanding for its simplicity of materials from a natural origin, such as pigments, sawdust, fibers, wood, soil, etc. The combination of these elements with the gesturality of his production makes each work unique, while creating a special connection between the artist and his process of creation, which transcends the conceptual. Currently, he has been making increasing use of techniques from olden times, which not only establish a direct relationship with the ethnobotanical discourse, but also recover his native Latin American ancestrality. Bosco Sodi also associates these techniques to traditional and contemporary processes, dialoguing with the movements of land art and informalism.

He has presented solo shows at prominent institutions that include MkT Contemporary (2025, Kyoto, Japan), Castello di Ama (2025, Siena, Italy), Fundación Caja Canarias (2025, Santa Cruz de Tenerife, Spain), Museo de Arte de Sonora (2025, Mexico), He Art Museum (2024, Foshan, China), Casa das Rosas (2024, São Paulo, Brazil), Harvard Art Museum (2023, Cambridge, USA), Fundación Casa de Mexico (2023, Madrid, Spain), the Fondazione dell’Alberto d’Oro, Venice, Italy (2022, as part of the official program of Venice Biennale); University of South Florida Contemporary Art Museum, Tampa, USA (2021); CAC Málaga, Spain (2020); the Royal Society of Sculptors, London, England (2019); the Museo di Scultura Antica Giovanni Barracco, Rome, Italy (2019); the Mexican Cultural Institute, Washington, DC, USA (2019); the Museo Nacional de Arte, Mexico (2017); and the Bronx Museum, New York, USA (2010). He has participated in group shows at venues that include the Ryosokuin Zen Temple (2024, Kyoto, Japan), Desert X (2024, AlUla, Saudi Arabia), Converge 45 Biennial (2023, Oregon, USA), Harbour Arts Sculpture Park, Hong Kong (2018); the Museum of Modern Art, Gunma, Japan (2017) and the Museo Espacio, Mexico (2016). Bosco Sodi’s work is also part of important collections such as Colección JUMEX (Mexico), the Harvard Art Museums (USA), the Museum of Contemporary Art San Diego (USA), the New Orleans Museum of Art (USA), the Scottish National Gallery of Art (Scotland), and Walker Art Center (USA).

Artist CV

Rochelle Costi's works deals with affective memory – that which normally stirs up the dust in our unconscious, activated by a device: the image. Her research is based on her own image repertoire, to then be formalized through refined photographic technique, videos and installations. Collecting and photography not only complement one another, but are also merged in her work, bringing the spectator to an intimate confrontation with this universe, which becomes shared by everyone.

She holded a BA in social communication from PUC-RS, and a specialist degree from Saint Martin School of Art and Camera Work, in London. Among the venues that she held solo shows include Casa do Povo, São Paulo, Brazil (2024); Solar dos Abacaxis, Rio de Janeiro, Brazil (2023); Estúdio Extraordinário, Itú, Brazil (2023), Oficinas Culturais Oswald de Andrade, São Paulo, Brazil (2021); The Photographer’s Gallery, London, England (2016); the Museu de Arte Moderna (MAM), São Paulo (2010); the Centro Cultural São Paulo (CCSP) (2009); the Museu da Imagem e do Som, São Paulo (2008); and Instituto Tomie Ohtake, São Paulo (2005). She has participated in many significant group shows, held at venues that include the BienalSur, Brazil and Argentina (2023); Casa do Parque, Brazil (2023); Solar dos Abacaxis, Brazil (2023); Museu da Imagem e do Som-MIS, São Paulo, Brazil (2022); Pinacoteca de São Paulo (2023 and 2020), the Museu de Arte de São Paulo (Masp) (2018); Somerset House, London, England (2012); and the Centro de Arte Reina Sofía, Madrid, Spain (2000). Group shows she has participated in include most notably the III Beijing Photo Biennial, Beijing, China (2018); the Bienal de la Paiz, Guatemala (2016); the 11th Venice Architecture Biennale, Italy (2008); the 24th and 29th editions of the Bienal de São Paulo (2010 and 1998); the Bienal de Cuenca, Ecuador (2009); the XXVI Bienal de Pontevedra, Spain (2000); the II Bienal do Mercosul, Porto Alegre (1999); the 6th and 7th editions of the Bienal de Havana, Cuba (1997 and 1999); and the II Tokyo Photography Biennial, Japan (1997). Her artworks figure in prominent collections, including those of the Cisneros Fontanals Art Foundation (USA), Instituto Inhotim, Masp, MAM-SP/RJ, the Pinacoteca de São Paulo, and the Museum Moderner Kunst Stiftung Ludwig (Austria).

Artist CV

Geraldo de Barros is a key name of 20th-century Brazilian art. Combining his first studies on painting with a later interest in photography, he pushed the envelope of the traditional photographic processes, questioning the classic rules of composition. Geraldo de Barros took a formal concern – as clearly seen in Brazilian concretism, in which participated intensely – and managed to merge this with his social concerns, leading him to approach the industrial processes in his work, dealing coherently with geometric constructions, reproducibility, the socialization of art, the theory of form and industrial design.

At the age of 26, Geraldo de Barros participated in the creation of the photography course and darkroom at the Museu de Arte de São Paulo (Masp), where he presented the exhibition Fotoformas, in 1950. The artist was also one of the most active members of the Foto Cine Clube Bandeirante, which marked the experimentation of photography in Brazil. In 1951, he participated in the Hochschule für Gestaltung (HfG – School of Design) in Ulm, Germany. He was also one of the founders of Grupo Ruptura (1952) and of Grupo Rex (1966), and participated in the 1st, 2nd, 9th, 15th and 21st editions of the Bienal de São Paulo, and in the 1986 Venice Biennale (Italy). Geraldo de Barros’s works have participated posthumously in various national and international exhibitions. In 2014, Instituto Moreira Salles, in Rio de Janeiro, organized a retrospective of the artist, and in the following year the same exhibition was held at Sesc Belenzinho, in São Paulo. In 2017, the Fundação Arpad Szenes-Vieira da Silva in Lisbon (Portugal) and the Document Gallery, in Chicago (USA), held solo shows featuring works by the artist, followed by others at Side Gallery, in Barcelona (Spain), in 2018, and Kunst- und Kulturstiftung Opelvillen, in Rüsselsheim (Germany), in 2019. In 2021, Itau Cultural featured a solo exhibition, while in 2022, the Museé d'Art Moderne et Contemporain – MAMCO, in Switzerland, held the largest retrospective of the artist in Europe. In 2025, Geraldo de Barros participated in the exhibition on Brazilian modernism at the Royal Academy of Arts, in London (England), Zentrum Paul Klee, in Bern, (Switzerland), as well as Fundação Calouste Gulbenkian, Lisbon (Portugal), Arles Les Rencontres de la Photographie (Arles, France) and MASP (São Paulo, Brazil). His work figures in important collections such as those of the Fundação de Arte Cisneros Fontanals, the Art Fund of the State of Geneva, the Fundação Bienal de São Paulo, Instituto Inhotim, the Ludwig Museum, the Max Bill Foundation, the Max Art Museum, the Museu de Arte Contemporânea of São Paulo, the Museu de Arte Moderna of São Paulo, the Museu de Belas Artes, the Museu de Arte de São Paulo, MoMA, Tate Modern, Photographer’s Gallery, the Pinacoteca de São Paulo, the Museo de Arte Latinoamericano de Buenos Aires, and others.