Preface and Acknowledgments
Growing up in Rio de Janeiro under the military regime, I experienced two
parallel realities that left strong impressions on me: on the one hand, the
arrest of my friends from the Federal University of Rio de Janeiro during
the street demonstrations against the dictatorship; on the other, our gather-
ings on the sands of Ipanema Beach, where we witnessed the era’s evolving
counterculture. During my years as a journalist, my inquisitive nature led
me to learn more about this period in Brazilian history. My involvement
with the visual arts as an art historian, which did not come until much later,
gave me the opportunity to bring together these two disparate realities: the
reaction against the military regime and the artistic production of that time.
At its core, this book is the result of my interest in both worlds and of my
need to reconcile them.
Many people helped me along the way, and I am grateful to have the
opportunity to acknowledge them. First of all, I owe a debt of gratitude to
Frederico Morais, who granted me long and patient interviews and shared
personal materials from his private archives, confirming that there was a
fascinating story to be told about the intersection of art and politics under
the Brazilian dictatorship. Morais was a pivotal player during the period
as a curator and art critic, and during our many interviews at his home in
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