Now in his mid-forties, the Brazilian artist Henrique Oliveira has a long exhibition history in both Latin America and Europe, not to mention scattered shows in the United States, but his installation Devir (Becoming), 2017, at Van de Weghe Fine Art was his first appearance in New York. As such, it may not have been completely representative: He is capable of very large-scale installationsTransarquitetônica (Transarchitectural), a maze of wood and brick tunnels at the Museu de Arte Contemporânea da Universidade de São Paulo, in 2014, filled a space around 240 feet deep, while another walk-in piece, A origem do terceiro mundo (The Origin of the Third World), at the São Paulo Bienal in 2010, needed only around 150but Devir was a mere twenty-eight feet wide. Even so, it completely filled the gallery, taking the form of a massive wooden tree that seemed to sprout from one
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