Solange Escosteguy’s artistic trajectory began with her participation in the seminal exhibition “Nova objetividade brasileira” (New Brazilian Objectivity) at Rio de Janeiro’s Museu de Arte Moderna in 1967. In the exhibition catalogue, the show’s main organizer, the artist Hélio Oiticica, described Brazilian avant-garde art as characterized by, among other things, the participation of the viewer, the tendency for the object to negate and supersede the frame of the easel, the adoption of collective propositions, and new formulations of the concept of antiart. In considering the work of Escosteguy,