In 1951, the Brazilian poet Carlos Drummond de Andrade published the poem “A máquina do mundo” (The Machine of the World), which among its verses reads: “The machine of the world has partially opened . . . / opened itself majestic and circumspect, / without giving off any impure sound / nor even a flash of light greater than is bearable.” The poem, which Laura Vinci has referenced in the past, again came to mind when one viewed her recent exhibition “Morro mundo” (Hillside World), which was made up of a structure comprising various interlocking glass tubes that occupied the total space of the