Eighteen years have passed since octogenarian Abraham Palatnik’s last retrospective. In the meantime, the burgeoning historiography of midcentury Brazilian geometric and constructive abstraction has left his role relatively unexamined. Indeed, as Palatnik himself recognizes, his interest in kineticism distanced him from the debates that raged around Concretism and Neo-Concretism throughout the 1950s and ultimately defined the critical reception of the art of the period. Curated by Felipe Scovino and Pieter Tjabbes, the eighty-six works in “Abraham Palatnik—a reinvenção da pintura” (Abraham