This debate organized by the journal Módulo, brought together visual artists Luiz Áquila, Ana Letícia, and Jorge Guinle Filho, actor Buza Ferraz, choreographer Regina Miranda, and literary critic Heloisa Buarque de Hollanda. The theme under discussion was the role played by the art critic, the scope and objectives of the critic, and the direct link the critic has with the artist. This discussion assembled professionals in the visual arts, dance, and theater, calling upon each to state the problem from the specific point of view of the art form they practice. There was also discussion of the situation of Brazilian institutions and the support they provide for the artists’ work, their participation (or lack thereof) in the art market, and/or in official institutions. In particular, the group discussed state interference at that specific moment of political openness. Finally, they addressed the social situation of the Brazilian artist, given the professionalization of the artist’s role: the artist’s working conditions, and the viability of survival. The group went on to discuss the financial situation of artists, bringing the artists face to face with the public response to their art.

The painters Luiz Áquila and Jorge Guinle Filho were the founders of what was known as the Geração 80 in Rio de Janeiro. Áquila was known both for his painting and his involvement in the academic world, at the Escola de Artes Visuais do Parque Lage. Guinle Filho, who was also a well-known painter, made intellectual contributions as an art critic. Ana Letícia Quadros is a printmaker who was part of the Brazilian art scene in the 1950s; later, she was highly influential in the art world through her work as an arts administrator.

The journal Módulo, founded in the late 1970s by architect Oscar Niemeyer, became one of the main vehicles to disseminate the thinking about art in the 1980s. It also provided unconditional support to the group called Geração 80. 

As supplementary readings in the context of the Generation of the 1980s in Brazil, there is an essay by Ricardo Basbaum, “Pintura dos anos 80: algumas observações críticas,” [doc. no. 1110972], written with the stated objective of demystifying the group called Geração 80. This same writer published an article that exemplified his focus in “Sérgio Romagnolo” [doc. no. 1111249]. 

Moreover, the artist Leonilson turned out to be emblematic of that generation. He was covered both by Lisette Lagnado in “Entrevista com o artista: a dimensão da fala” [doc. no. 1110767], and “Leonilson: símbolos coloridos” [doc. no. 1110768], as well as in the essay by Sônia Salzstein “As palavras e as coisas” [doc. no. 1110769].