Lygia Clark, Máscaras sensoriais, 1967. WIKIART. © LYGIA CLARK

The ground of art history is littered with manifestoes. Those documents, often written by art critics, poets, and artist-philosophers, explain the underlying motivations of a coalition of creatives and help identify who is “in” and who is “out” of the group.

In retrospect, these declarations often run parallel with the politics of a particular place and time. They are also usually a revolt against some earlier manifestation made by a different if tangentially related, group of artists. Such is the case of the Neo-Concrete Movement.

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