Blending the geometric and the organic, the sculpture and drawings in this engaging exhibition, which originated at the Museu de Arte Moderna Aloísio Magalhães in Recife and is currently at the Estação Pinacoteca in São Paulo, offer a dialogue with European modern art as far back as Russian Constructivism, and with the tradition of concrete and neo-concrete art in Brazil that is derived from international constructivism—a conversation as much with Max Bill as with Tatlin or Rodchenko. The Neo-concrete link in José Pedro Croft’s work is perhaps most visible in the way he exposes the imperfect