Recent Hollywood films such as The Monuments Men (2014) have dramatized the Nazis’ confiscation of modern art and its postwar recovery. Among the artists whose work had been confiscated was the Brazilian painter Lasar Segall. The notorious exhibition “Entartete Kunst” (Degenerate Art), inaugurated in Munich in 1937, targeted modern art through various didactic slogans, including “Nature as seen by sick minds,” and declared the diseased origins of the art on display. That exhibition included eleven works by Segall—selected from among nearly fifty that were confiscated by the Nazis after

Brazil was the last Western nation to abolish slavery, in 1888, and 130 years later the Museu de Arte de São Paulo has dedicated its 2018 program to Afro Atlantic histories as part of its larger mission, adopted last year, to become “diverse, inclusive, and plural.” To inaugurate this cycle of programming, the exhibition “Maria Auxiliadora: Daily Life, Painting and Resistance” opened just after International Women’s Day in May. This exhibition, curated by Fernando Oliva and Adriano Pedrosa, revisits her work, neglected for decades because it was deemed irrelevant to the prevailing modern and