Parisian gallerist Cérés Franco was active in Rio de Janeiro in an attempt to forge connections between European production (mostly French work related to the leading tendencies of the time) and Brazilian production. Some of the shows she organized were supported by the Alliance Française, and a number of them were even held there. Cérés Franco was not only a gallerist, but also an art historian and curator. Her Parisian gallery L’Œil de Bœuf was open for over twenty-five years. Her unique art collection is on public display in Lagrasse in the department of Aude, in the South of France. The exhibition Opinião 66 was held at the Museu de Arte Moderna de Rio de Janeiro from August 25 to September 11, 1966. It featured the work of fifty-nine artists, some of them Europeans but mostly Brazilian residents of Rio de Janeiro. The exhibition illustrated the difference between the Brazilian artists interested in objectual art and foreign artists whose work was more pictorial in nature. Oiticica’s project/installation Sala de bilhar [Billiard Hall] was included in the exhibition. That work consisted of a three-dimensional reconstruction of a famous painting by Vincent van Gogh; in Oiticica’s work, viewers could participate in the environment. Articles related to the exhibition include: Mário Pedrosa, “Opinião... opinião... opinião...,” Jornal do Comércio (Recife, 1966) (republished in Correio da Manhã, Rio de Janeiro, September 11, 1966); Frederico Morais, “A opinião brasileira de 66,” Diário de Notícias, Rio de Janeiro, September 10, 1966 [see 1110550]; and Harry Laus, “Nova visão de Opinião,” Jornal do Brasil, Rio de Janeiro, September 2, 1966.