Artists Sérgio Romagnolo, Leda Catunda, and Ana Tavares—along with Ciro Cozzolino and Sérgio Niculitcheff—participated in the exhibition Pintura como Meio,held at the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP) in 1983. According to Aracy Amaral, the show represented the first indication of a “return to painting” in Brazil in keeping with international tendencies like the transavantgarde in Italy and Neoexpressionism in the United States. Regardless of those commonalities, the group is eclectic because it was formed by artists, such as Nelson Leirner and Regina Silveira, both professors at the Fundação Armando Álvares Penteado (FAAP) in São Paulo. The exhibition, Arte Híbrida, held in 1989,brought together the same artistic trio, but this time with Monica Nador as well, an artist who also considered “the hybrid”—something impure or in a state of mutation—a feature that runs through Brazilian art.
On the Brazilian art market in the eighties, see Jorge Guinle Filho, “Papai era surfista profissional, mamãe fazia mapa astral legal: ‘Geração 80’ ou como matei uma aula de arte num shopping center” (ICAA digital archive 1110971); Frederico Morais, “Gute Nacht Herr Baselitz ou Helio Oiticica onde está você?” (1110957); and Roberto Pontual, Explode Geração (1110991) (Rio de Janeiro: Avenir, 1984).