This volume, which forms part of the Arte Brasileira Contemporânea (ABC) collection, discusses Brazilian artist Lygia Clark. It includes texts by the artist herself—indeed, the book is a sort of anthology of her writings—and by critics Mário Pedrosa and Ferreira Gullar. Those texts, in conjunction with images of her production from the fifties, sixties, and seventies, provide an overview of Clark’s always experimental art. In 1958, Gullar wrote the text “Lygia Clark: uma experiência radical, 1954–1958,” in which he asserts that Clark’s paintings are objects open to, rather than outside of, space. Her work, Gullar argues, eschews the division between space and work insofar as the artist “builds the painting as object and as expression, operating directly on the real space.” Pedrosa’s text, entitled “Significação de Lygia Clark” (1963), addresses Clark’s Casulos [Cocoons], Contra-relevos [Counter-Reliefs], and Bichos [Creatures] series which, in his view, emerge at the core of an uncertain “post-sculptural” space. Pedrosa is convinced that Clark’s “creatures” have revolutionized an outdated concept of sculpture. These works “add a new element as they stand out, more than her earlier work, in the domain of Kinetic constructions and creations. Lygia is now inciting the viewer to participate [….]” The volume contains the following texts by Clark, some of them extensive reflections and others descriptions of works and proposals: “Pensamento Mudo,” “A morte do plano” (1960), “Os Bichos” (1960), “Do ato” [Of the Act] (1965), “Caminhando” (1964), “A propósito do instante” (1965), “A propósito da magia do objeto” (1965), “Um mito moderno: a colocação em evidência do instante como nostalgia do Cosmos” (1965), “Arte, religiosidade, espaço-tempo” (1965), “Nós recusamos...” [We refuse…] (1965), “Nós somos os propositores” [We are the ones who propose] (1968), “Somos domésticos?” (1968) [see doc. no. 1110516], “Quatro proposições recentes,” “A casa é o corpo” [The House is the Body] (1968), “O corpo é a casa” (1969), “Baba antropofágica” (1973), “Cabeça” (1975), “Flor: ‘relaxação’” [Flower: Relaxation] (1974), “Túnel” (1973), “Ovo – mortalha” [Egg – Shroud] (1968), “Objeto relacional,” “Objeto relacional em contexto terapêutico,” “Estruturação do self” [Structuring the Self], “Métodos para tirar o sujeito de estado regressivo” [Methods to Remove the Individual from His Regressive State], and “Amostras de estudos de caso” [Samples of Case Studies].