In 1977, while living in Milan, Brazilian artist Antonio Dias traveled to Nepal in search of handmade paper. Upon his arrival in Kathmandu, the country’s capital, he discovered that there were no suppliers. Thus began his search to identify local craftsmen who might assist him in the paper’s production. Yet this quasi-anthropological excursion is less important than the artist’s insistence on producing a support that would reveal its very specific materiality. In all the works in “Papéis do Nepal 1977–1986,” one could see how the handmade paper displays a certain warp and woof; how it flaunts