Since 2012, cmb has held exhibitions based on pieces from its collection and the current artistic production. “Geometries” opened the collection's first exhibition space and featured a curatorial text by Paulo Miyada. The same location, an apartment in the Pinheiros neighborhood, in São Paulo, also housed artistic residencies for professionals from outside Brazil.

In the following years, exhibitions have addressed the conceptual experimentalism of the 60s and 70s, feminism of the 80s, and contemporary Latin American production, prioritizing printed, audiovisual, and ephemeral materials, in addition to performances and hybrid practices.

In November 2021, cmb inaugurated its new space in Vila Operária on Travessa Dona Paula, in São Paulo.

Possession State: notes for an aesthetic of torture

Cris Ambrosio + Deyson Gilbert (org.)

𝘧𝘰𝘳 𝘢 𝘥𝘦𝘧𝘪𝘯𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘯𝘤𝘦𝘱𝘵 𝘰𝘧 𝘱𝘰𝘴𝘴𝘦𝘴𝘴𝘪𝘰𝘯:
In a strict sense, ideological drama established in the field of conscience by the conflict of one or more entities that claim, all at once, control over the same countenance. In a dilated form, a crossroaded category: a spiritual path of beings butchered by the historical and political blades of the territories, bodies, and symbols (demonology of weights, wills and the owned). In a direct puncture: misalliance and fractured conciliation between images, things, and inclinations. In essence: the exorcism of the eyes against the sweat of the hands and the drool of the assholes.

Still Guerrilling Girls:The Feminist Cause in Art Museums

Diana Dobránszky


In a seminal and inaugural text on feminist art theory written in 1971, American Linda Nochlin set some parameters for the question “Why Have There Been No Great Women Artists?” Among the various reasons given, Nochlin considers the restriction suffered by women in their artistic education and access to the means of production (and distribution) – it is impossible not to remember the notorious essay by English woman Virginia Woolf on the condition of the woman writer in her book “A Room of One's Own,” from 1929, in which she defends independence – and freedom – as a primordial need for artistic production and improvement.

At Stake

Olivia Ardui


The exhibition brings together works that analyze and criticize the rules of the game and put them in check, that is, in a critical situation of impasse, which does not seem to present a solution or a way out. This is accomplished through the questioning of ideologies, official narratives of history, predominant philosophical and socioeconomic systems, geopolitical situations, and the very notion of time. The exhibition was curated by Olivia Ardui.

Horror Vacui

Pontogor (org.)

The moraes-barbosa collection presents the exhibition Horror Vacui, organized by the artist and collection’s former fellowship holder. The exhition presents itself as an unfolding development of Pontogor’s research results in the collection’s archive, investigating the different renderings of emptiness in art.“The desire to see is thus diverted into an invitation to act; the relations between what and how is being represented coalesce in the production of a subjectivity in making.”**excerpt from the text 'The Blind Viewer' by Helena Vilalta.

Networks, Collaborations, Resistance in/between Portugal and Brazil, 1962-1982

Rui Torres: Lisboa Municipal Galleries

By identifying analogous forms of expression that constitute common acts of resistance in Portugal and Brazil, albeit at different times and in dialogue with different communities, it is possible to observe a vital social intervention, promoting a poetic and political action, triggered by critical operations of reinvention of reading and writing, participation and production, freedom and resistance.


Camilo Godoy

Reté is the word ‘body’ in Tupi language. The Tupi lived in present-day São Paulo before Portuguese colonization. As part of SP-Arte, artist Camilo Godoy presents an exhibition that brings together materials from coleção moraes-barbosa. Through thisproject, Godoy addresses the representation of the human body in dance and performance.

Trustworhy Agreement

Jacopo Crivelli + Olivia Ardui


From the concept of "agreement" - which in some cases becomes "contract", with its clauses and obligations and in others, an implicit and informal “pact” — the exhibition is configured as an invitation to reflect on power games and conflicts of interest, which have regulated society and, more specifically, the art system.

Art as Project as Book

Diana Dobránszky


An important section of the moraes-barbosa collection consists of brochures, posters, artists’ books and vinyl albums of some of the most important conceptual artists of the 1960 and 70s. In order to provide access to a wider audience to this material the exhibition Art as Project as Book presents books, works and vinyls by Douglas Huebler, Lawrence Weiner, Robert Barry, Seth Siegelaub and stanley brouwn.


Paulo Miyada


“Geometries” was the first exhibition of the moraes-barbosa collection. It occurred in 2012. Organized as a part of the collection, it favored works by young artists who explored geometric and cartographic resources. It included an essay specially written by curator Paulo Miyada based on the theme and the works exhibited. The exhibition took place in an apartment in São Paulo reserved by the cmb for residencies by international artists and curators and for experimental exhibitions with the collaboration of local curators.