After It’s All Said
September 12, 2026–January 24, 2027
The 39th Panorama of Brazilian Art: After It’s All Said, is on view at the Museum of Modern Art of São Paulo (MAM São Paulo) through January 24, 2027. Curated by Diane Lima, the exhibition marks MAM São Paulo’s return to its headquarters in Ibirapuera Park.
One of Brazil’s most important exhibitions dedicated to contemporary artistic production, the 39th Panorama brings together 33 artists from 11 Brazilian states: Allan Weber, Amorí, Ana Claudia Almeida, André Felipe Cardoso, Anti Ribeiro, Arorá, Bárbara Banida, biarritzzz, Carolina Cordeiro, Caroline Ricca Lee, Chacha Barja, Darks Miranda, Emer Freire, Fykyá Pankararu, Gilson Plano, Helô Sanvoy, Iagor Peres, Josi, Jota Mombaça, Kuenan Mayu, Lia D Castro, Lita Cerqueira, Marcelo Conceição, Moacir Soares de Faria, nazas, Osvaldo Gaia, Oto Ferreira, Rafael Chavez, Rayana Rayo, Rodrigo Cass, Rose Afefé, Thaís Muniz, and Ygor Landarin.
After It’s All Said asks where artistic production has overflowed in its pursuit of expanding the limits of aesthetic representation through a radical exercise in imagination. The curatorial approach examines how the epistemological shift of recent decades, driven by demands for racial reparation and the achievements of affirmative action policies, has reshaped Brazilian art, to the extent that these transformations have not only brought racial debates into the fields of language and aesthetics, but have also been significantly influenced and expanded by them.
Inspired by the title and philosophical question formulated by Denise Ferreira da Silva, one of the leading contemporary Black feminist theorists, the project invites us to imagine “whether it might be possible to draw on a sensibility that presumes and anticipates what lies beyond everything that has been said and done about colonial and racial violence, and the work they perform for global capital.” In dialogue with the philosopher, Diane Lima develops a project that, by “reading art as confrontation,” reflects on how artists have enacted, through their poetic and compositional practices, radical exercises in imagination and experimentation that reveal an ongoing, collective movement toward liberation.
The Panorama of Brazilian Art is a biennial exhibition organized by the Museum of Modern Art of São Paulo since 1969. Established as one of the most important exhibitions on the national art calendar, each edition presents a curatorial perspective that engages with urgent contemporary debates and highlights the diversity of artistic production in Brazil, strengthening dialogue among artists, institutions, and audiences.
Its creation in 1969 coincided with the resumption of MAM’s activities following a period of closure. The exhibition emerged from the joint efforts of Diná Lopes Coelho—the museum’s technical director from 1968 to 1982—and artists, curators, critics, and other cultural agents who mobilized to rebuild the museum and reactivate its program.
MAM found in the Panorama an essential strategy for rebuilding its collection, incorporating works presented in each edition. Across the 38 editions held to date, the Panorama of Brazilian Art has played a key role in shaping MAM’s contemporary identity and strengthening the Brazilian art field. Its historical relevance and continued commitment to reflection, experimentation, and renewal have established the Panorama as a central platform for understanding art produced in Brazil today.
