Read at the Paris City Museum of Modern Art (16 June 1969).1
I am going to stand up here as a living witness against the São Paulo Bien-
nial this year because it is completely dominated by the ridiculous rules im-
posed by the Brazilian fascist regime. The Brazilian artists, among the most
gifted, don’t have the opportunity to participate freely or, better yet, are
under strong censorship that forbids everything that might challenge the
regime or the morals of the Brazilian people. For example, all erotic art as
well as everything that might be considered subversive or criminal. And in
order to monitor these artworks, there is a censor, probably a military offi-
cer, who is part of the juries.
Even if this is not the case, I can witness and affirm here that I am in
A P P e n d i x 1
Dossier “Non à la Biennale de São Paulo”
1. The dossier “Non à la Biennale de São Paulo” read during the meeting at the Paris
City Museum of Modern Art on June 16, 1969, was translated by the author from the
original document in French and edited by Susan Rogers, professor of anthropology
and French studies at New York University, New York. It is from the private archives of
Frederico Morais, who gave the author permission to disclose it. The original French
document is in the hand of the author, New York City.
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