The text investigates the possibility that art critics will recover their effectiveness, given an alleged decline in the field. Basbaum comments on the need to generate new languages in order to come up with new ideas. The text states that critics are in fact capable of developing multi-disciplinary ties, while entering into the special quality of works to the point of being the artist’s accomplice. The writer discusses the boundaries established between written and visual language, although it is also impossible to separate the two forms of language. He believes that criticism does not add value to an artwork, though it should be set forth as a construct alongside the work, generating an entire axiology around that work. Basbaum defends critics pushing the limits of his practice, simultaneously maintaining the stance of historian, theoretician, and artist, without any one role eclipsing the others. Finally, he considers it essential to make room for other players (in the art world) to test the critics’ positions, creating incentives for certain hybrid experiences that should be extended to the viewers as well.

This is a highly significant textual balance sheet regarding the relationship between art criticism and contemporary art in Brazil, even suggesting the path critics might follow to tighten the bond and expand their field of action. Basbaum’s essay was initially published in the journal Porto Arte, and subsequently used as the introduction to the book Arte contemporânea brasileira: texturas, dicções, ficções, estratégias,assembled by the writer in 2001. The book consists of a selection of various articles that had a significant impact on the thinking about the work produced by contemporary artists in Brazil, and includes the contributors (all critics) Guy Brett, Ronaldo Brito, Tadeu Chiarelli, Fernando Cocchiarale, Martin Grossmann, Frederico Morais, Rodrigo Naves, Sônia Salzstein, Alberto Tassinari, Paulo Venâncio Filho, and Basbaum, himself. The book addresses issues related to the Postmodern period, the international sphere of Brazilian artists, the national art milieu, and the links between modern and contemporary art. It also discusses current problems in art—considering the particular issues of the image, the body, new media, circulation, reception, and markets.

Ricardo Basbaum is an artist, professor, critic, and curator who appeared on the art scene in the 1980s. In the next decade—the 1990s—he was a member of the group Visorama, and also editor of the journal Ítem. He was responsible for coordination of AGORA, as well as later on, the Espaço Agora-Capacete. In addition, he was one of the curators for the exhibition Panorama de Arte Brasileira (2001), and some years later, his art approach would be included in the Documenta (in Kassel in 2007).