Abstract

This text was originally published as part of Ferreira Gullar's 1959–60 serialized history of modern art published in the Sunday supplement of the Jornal do Brasil. Following on the heels of a previous entry that traced the move from the plane to the “non-object” in the recent work of Lygia Clark, Gullar turns his attention here to color as a structuring principle of both space and time in the work of Aloísio Carvão and Hélio Oiticica.

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