Brazilian Sônia Salzstein discusses the contemporary concepts of “sculpture,” using the thinking of the US art historian Rosalind Krauss as a point of departure. Salzstein’s objective is to examine what distinguishes modern sculpture from contemporary sculpture, and from there, to develop analogies with the specific case of Brazil. The writer points out the specific milieu of her country, where “modernity” began to appear in the 1950s through a link between space and time that materialized into profiles of something experiential. In her opinion, contemporary sculpture in Brazil emerged from an impulsive break with the plane, and not as a sculptural tradition in itself, as occurred in Europe and in the United States. In addition, Salzstein brings two more issues to bear on the subject. On the one hand, she points out “the stigma of the constructive.” On the other, she identifies the opportunity that arose when contemporary sculpture in Brazil came to challenge the limits of recent painting—that is, painting rendered in the 1980s. To support her arguments, the writer uses examples from the work of the artists Waltércio Caldas, Lygia Clark, Hélio Oiticica, Amilcar de Castro, Franz Weissmann, Sérgio [de] Camargo, Victor Brecheret, Lasar Segall, Ernesto De Fiori, Bruno Giorgi, Nuno Ramos, Carlos Alberto Fajardo, Tunga, Cildo Meireles, and Iole de Freitas.