This text by the art critic Aracy Amaral (b. 1930) describes an exhibition of work by Latin American artists living in Paris, which she curated at the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP) in 1985. The objective of this exhibition was to make people aware of the recognition and/or value conferred on the work of these art creators by their links to the French capital. Given its ongoing cosmopolitan profile, Paris had fostered the integration of these artists into the international art circuit, as opposed to what happened to young Latin American artists in New York. In this text, the writer tells the short history of these artists as they were living in Paris, comparing them with other Brazilian artists who had led the way for Modern art in Brazil. Aracy Amaral states that Paris conferred a certain respectability and distinction on the artists who showed their work there. In her opinion, this reinforced the fact that it remained a cultural reference point over time, in spite of the various ties with a number of countries in Latin America. She wrote in detail about important groups of these artists who, like it or not, were trained in the French milieu. This included “Los Disidentes” (made up of Alejandro Otero, Carlos Cruz-Díez and Jesús Rafael Soto) and the GRAV (Groupe de Recherche d’Art Visuel), headed by the Argentinean Julio Le Parc. Both these groups were vital reference groups with respect to Abstract and Kinetic art. The writer even ponders whether artists working in metropolitan New York depend on the markets in their home countries, while in Paris, artists have the European markets within reach. In conclusion, she sets forth some comments on the artists participating in the exhibition: Roberto Matta, Luis Tomasello, Arthur Piza, Luis Caballero, Enrique Zañartu, Carlos Cruz-Díez, Antonio Seguí, José Gamarra, Gontran Guanaes Netto, Luis Felipe Noé, Jack Vañarsky, Flávio Shiró Tanaka and Le Parc, himself.