Wallace V Masuko

It retains enough light to clear its traits and inflate mirages.

You need a poem about it
I'll send a phone message

The Windows

A frank and economical invitation for a conversation, an operation, and a relationship. — Its writing reveals itself. Text and photographic image in offset print on coated paper, 26 x 16 cm. Graphic reproduction that presumes an object production, in an edition of 100 serially autographed copies traded one by one from 1966 to the present (2022). In 55 years, 51 instructions have been acquired. It is unknown how many objects were built, and even less known how many times the graphic piece NEUTRAL – INSTRUCTIONS was reproduced in books, catalogs, websites, and other analog and digital media*. The measurements indicated in these instructions were those used in the model, but any other measurements can be used in the same proportion.

* To decorate the directions, to learn from head to toe.

It is a transparent thermoplastic. PMMA is also known as acrylic, acrylic glass, perspex, or plexiglass, as well as by the trade names and brands Crylux, Plexiglas, Acrylite, Astariglas, Lucite, Perclax, and Perspex, among several others. This plastic is often used in sheet form as a lightweight or shatter-resistant alternative to glass.

Their chains, during deformation, slide irreversibly over each other.

Has a high degree of biocompatibility*.

*The ability of a material to be compatible with living tissue, in particular the human body.


A cube almost squared, multipliable, multiple, not unique. A Neutral presupposes the existence of others, "identical", based on the same instructions. Recent industrial nomenclature and raw materials are used, but the objects are constructed out of industrial logic, they are handcrafted by the person who acquires them or by someone chosen by the owners of the prescriptive graphic piece. There is no original and the copies were all executed by people other than the artist. — Let’s make an appointment .

— At your own risk.

The proposal of one awaits the action of the other, one indicates the existence of others [# 001/100] – between projective instruction, constructive operation, object realization, and space-time placement.

He was part of my dream, of course – but then I was part of his dream, too.

Through the Looking-Glass


We are in mid-air. In 1929, the United States Army Air Corps worked with Bausch & Lomb to create aviation sunglasses that would reduce the distraction caused to pilots by the intense blue and white hues in the sky, as their glasses fogged up, drastically reducing their visibility at high altitudes. The prototype, created in 1936 and known as 'Anti Glare', was able to cut glare without obscuring vision. The following year, the Ray-Ban Aviator was patented. The 14-bis – the bird of prey by Santos Dumont, the Brancusi's Fish mistaken for a propeller by US customs, and the Letatlin – Russian personal flight apparatus, flying-fish. 3 exemplary objects of flying intentions of constructive inventions in the 20th century.

In the "Descobrimento da América" (Discovery of America) exhibition there were three ways of encountering Neutral in its first public appearance: printed with instructions, constructed object, and image published in REX TIME – the official organ of Rex Gallery & Sons. From graphic to constructive to graphic and so on.

at its ending


conception / writing / design / signature / distribution / display


acquisition / reading / drawing / construction / conservation / play


REX TIME 4 headline: O ato da criação toma outro aspecto, quando o espectador experimenta o fenômeno da transmutação; pela mudança da matéria inerte para uma obra de arte (…). Marcel Duchamp translated by Fajardo, The Creative Act

People spend money on the project of the object, not the object, but the idea ready to go, and, seduced by this idea, they become the artist's allies by following the instructions diligently in the constructive process. 
It is a pleasure to see the other making my work. When they get involved in the execution, the aspirations of the work are being satisfied.The incomplete work requires an intellectual, bodily attitude from the observer, who is not satisfied with the constructed object, he is not satisfied there, because a relationship begins, a strange relationship of otherness regarding the making, which is not of the artist, but of the participant, of the one who will probably live with the object, of his own. — I step aside so someone else can get closer.


a movable for you to live with

REX TIME 1 headline:
Two categories will divide objects: those that will never spoil (that will be forever preserved) and those that, once spoiled or unusable, can easily be remanufactured, reabsorbed into the new then everyday life. (...). Objects whose use does not imply deterioration fall into the first group. They will remain in museums. The second group includes all other things (...). It is clear that objects of more personal use will be abandoned and their remanufacturing will evidently be the responsibility of those who use them. — Do you want me to call a car for you to take this?


The given the consumed


It is a rare case of a text that I wrote other than for lyrics. I also didn't know if it was prose or poetry. My interest was in invented words, the mixture that could be made with them, as I had seen in the magazine of the concrete poets, especially in Invenção, which Augusto de Campos gave me as a gift. I found all that very close to what interested me, and I wrote "Acrilírico". Acrylic was a very new material, it had just appeared, and as the text has many reminiscences, the word acrilírico gave a kind of knot in time.
Knot where a semi-reflective film is installed, the meeting area of tenuous transversal images.

through its geometry
an invisible transparency is gathered


REX TIME 3 headline:It is transparent, stripped of history, concentrates a totality of energy, is the open passage, has no back as in the opposite that hides the disparity of goals.

Refraction occurs when light passes through the interface between two optical and transparent mediums, changing the speed of propagation of the electromagnetic wave.
The mental images of the two cubes resemble each other in Neutral.

The neutrino is electrically neutral and its rest mass is so small that it was long thought to be zero – much smaller than that of the other elementary particles excluding massless.  The gravitational interaction is extremely weak, and do not participate in the strong interaction. Thus, neutrinos typically pass through normal matter unimpeded and undetected. Weak interactions create neutrinos in one of three flavors: electron (νe), muon (νμ), or tau (vτ). There are three discrete neutrino masses with different tiny values, a neutrino created with a specific flavor is a specific mixture of all three mass states (a quantum superposition). Neutrinos oscillate between different flavors in flight as a consequence. There also exists  corresponding antineutrinos.




It doesn't stop or run down the side faces of the drawing cube, these four planes transversal to the plastic ones are "mental". The three-dimensional figure instates distances between the planes of the real and the virtual, and it founds four slots, prismatic forms that cast perception into a dimension at once oblique and abreast to our own. — Where I wish to install myself.


June 3, 1966
One cube, two cubes, one displaced in relation to the other, a twist. One double in, one hundred doubles out, one hundred doubles in. Two hundred cubes printed. Two hundred cubes built, probably.

Each pair of cubes printed at $1,000 each. Total: $100,000. Print run of REX TIME #1, many figures of cubes X 2, all of them brown.

March 23, 2022
Cubes proliferating, diaphanous faces, visible corners. Fifty-one cubes X 2, firmed and launched.

circumscribe a cube
inside the void
and inside the cube's void
behold a second existence


A large box is handily made of what is necessary to replace any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result.
A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper. A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary.

Neutral: geometric solid and geometric solid, construction and inscription, are installed in the same place and at the same time, one does not exist without the other.

— Matter resolved.


REX TIME 5 headline: He turned and walked slowly through the desert. I could see him gently emptying himself. Before he got to the horizon he was lying on the ground completely empty.


So in the back of these correspondences,
the Semblant lived TransSpace.

There are 6 or 8 plastic faces, identical faces oppose each other, different faces touch each other, the streaks are internal and thick white threads fill them, events occur on or around the surfaces. The center of the object remains unscathed, silence surrounded by matters.

In pulsars, the electromagnetic beam emanating from the poles is the result of the rotational energy of the neutron star, which generates an electrical field from the movement of the magnetic field, resulting in the acceleration on the star surface.

Neutral requires the surrounding space and attracts it.

the connections. will be. electrical.


She reveals herself nude in 2 appearances: on the coupling of these two appearances depends all apparition .

look through
its clear walls
and see other walls forming
a second formula


a nonsubjective objective


Virtuality as 4th dimension = not the Realit
in its sensorial appearance, but the virtual
representation of a volume (analogous to the reflexion in a mirror - )
Multiplicity to infinity of the Virtual images
of the 3 dimensional object. These images
being the smallest to infinity and the
largest to infinity.

In the infinitive [white box], 1966

Elementary Treatise on the Geometry of Four Dimensions

Active in the void.


— I think about you every day.


1 or 2

2 or 1


Such is her composition
and articulate syntax
that she is apprehended
only in the sum, never in parts.

There is no single term
where attention is arrested;
or that, however significant,
exclusively holds her key.

Nor can she be parsed
like a sentence; impossible
to derive a praphrase
from what in her is sense.

And just as, only complete
is she capable of revelation,
only another body, complete,
has the faculty to apprehend her.

Only a body in its completeness
undivided by analysis
can egage in the corps a corps
needed by whomever, not reducing,

wants to capture all the themes
inscribed in that body-phrase
that she, composure intact,
reveals with such intensity.

into a reflection
the empty plane
coagulates itself


Plastic, high quality raw material : skills and precision, in a minimal and concise construction effort.
— Fine, accidents happen when you cross the line.


The vague gaze slips, stops and sticks.


The mental image from constant observation of the piece constantly forms and deforms itself, which one of the cubic parts is closest to the mental polyhedron, to the concept addressed by its name?

The traced, discreet and stray cube appears and disappears as the relation with its observer is established. It gains sharper contours as time goes by, responding to the gaze, which draws and slides over the planes following the lines to their limits, moving forward over other planes, forming a cube temporally and mentally. It seems to borrow its growing geometric solidity from the plastic matter of which it is partially formed, this latter reflecting vaporously the environment where it is found in multifaceted interpenetrating images. — Installed in my head.


The representation generates instability in the construction, which accepts it. All cubed:
— I admire these forms that we create together, just by existing, without any effort, interpenetrated. Its parts that surround me from all sides.
— I admire these forms that we create together, just by existing, without any effort, interpenetrated. Your boundaries that touch me from all sides.

nothing else
an illusion


Only on the bases are the drawing faces materials. — Touching its transparency. The cube is a platonic solid.


The abducens nerve controls the movement of the lateral rectus muscle of the eye, one of the extraocular muscles responsible for outward gaze. Terminal, olfactory, optico, oculomotor, trochlear, trigeminal, facial, vestibulocochlear, glossopharyngeal, vagus, accessory and hypoglossal are the other cranial nerves. The revolution of a horizontally rotating cube creates diagonal perceptions to the front view.


It carries scratched on its skin its deformed and diagonal double – four faces without matter and two others with divided matter, distorted and inscribed on its faces, filled with luminous-white matter. They deal with their environment when disposed, with the notion of their multiplicity in identical others, of the misshapen mimesis in their own body: phantom on surface, clones realized in the world, inconstantly actualized, uncounted and uncontrolled.

The line needs the material presence and absence of the plastic to guarantee its existence. While one demands attention, the other demands care.


What about Geryon
what’s your favorite weapon? Cage, said Geryon from behind his knees.
Cage? Said his brother.
You idiot. A cage isn’t a weapon.

— At your disposal.

it opens up–
the drawing
the invisible line
the surface of transparency
–from there


Lightness and hardness, durability and delicacy. An encounter between geometric rigidity and living movement. A pleasant retarding force, fluctuation between apparent symmetry and dynamic order. Two constants, hands and eyes, seeing with the hands and touching with the eyes, objects and drawings made and remade for the soma, humans.

With hands
Without hands


Suprematist Composition: White on White, 1918.


Neutral. Its apparent scission constitutes it and inaugurates it, but it resists separation into two or more, it would not resist this operation. Its solids, undecided, do not crystallize. The drawing aspires to materialization, the plastic awaits the imagination. — Can you keep a secret?


Its air is sealed off from my inspiration, odorless.

before the blind gaze
the void is fulfilled


I look for nooks and crannies to install myself momentarily.


The transition of the instructions to the constructed box is Neutral.
Neutral: the intersections between the real cube and the virtual cube.

Nuances between one Neutral and another Neutral.

wooden boxes and glass and laminated glass and mirror —


— All works that assert materiality have voids, hollows, and holes – from which the world enters and exits all the time.

Head and torso recumbent, legs thrown forward, sloping, in front of you I delicately turn my face, expose my neck, slender. I retreat and rebut your gaze, while my lower parts accommodate themselves at your feet. It inclines slightly, and looks with complacency, haughtiness, and patience at another. All the splendor emanates from the contact; from the contact of the two bodies, and from the contact of the piece with itself. — In and out of language, at the same time, now. A game between you and me.


rigor absorbs the line
to the silent limit of
its illusory matter


Sliding of the retina along the corners, from this friction emerges, little by little, forms that are between the corners of one cube and another, inside the object cube and outside the drawing cube, prismatic forms made of plastic and air. The gaze installs itself there, goes from one corner to the other, contraction, comes in the opposite direction, dilation. — Make yourself comfortable.

— This other figure, I can touch it from above, from below, from almost all sides but one, the one on the inside. I could never touch it anyway, it only exists with the box closed, all these "solids" only exist behind closed doors. Well, I can't put my hands inside it either, but I can feel its energy from here. It talks to me, you know? All of them. There are four of them, and they are everywhere.


A floating world, the box, with its slightly reflective faces, seems to annul the gravity exerted on it. But the attraction between it and my body is mutual.

Like a quasar, it dissipates attempts to approximate significations to its inaccessible nucleus. Relations are only possible at the threshold, in the surrounding matter, from where its forms in delicate friction send us minimal information, subtle images that the enigmatic center unreservedly omits.

the white star
the white glass is
the white star of the solitude

the white solitude
the white camera is
the white solitude of the solitude

孤 白 の の 白
独 い 白 な い
の の い か ガ
い い は は 

星 星 星 星 星
で で で で で
あ あ あ あ あ
る る る る る

孤 白 の の 白
独 い 白 な い
い か カ
白 白 孤 孤 
い い 独 独 

孤  孤 孤
独 独 独 独 独
で で で で で
あ あ あ あ あ
る る る る る


An plexiglass cube, transparent planes, the white lines that form another cube, crooked – one and another, two, neither, neither and both, neither an impression nor a construction, neither and both, see all the things that are neither and both, and then, what is one into another? The in between, between instruction and instruction, between image and image, between photograph and photograph, between description and description, between project and project, between project and object, between object and object, between object and drawing, between drawing and drawing. The question of reproduction, the question of repetition, the question of representation, between reproduction and representation, between representation and repetition, between repetition and reproduction, the between the real plexiglass wall and the immaterial faces of drawing with material bases. Possibly this is where the driving energy of the work lies, in this form between the vertical edges of the drawing and the transparent edges of the plastic faces gathering together. In these figures of indifference. Neither one nor the other, the wedges, the four wedges (try to measure the wedges). What is inside the wedge? The inside of the wedge is the outside of the cube, the inside of the wedge is inside the cube, the corner of the cube is the outside of the cube.

Neutral facing me, Neutral facing others, Neutral not built, Neutral destroyed, Neutral lost, Neutral archived, Neutral forgotten, Neutral collected, Neutral exposed, Neutral disposed.

in the depth of emptiness
a second emptiness
engenders another


clean and handled


Similar, they interpenetrate themselves in an absurd reasoning, occupying the same space at the same time, they divide plans, they share matter and nothing. — The cube is a sociable solid, as it can be clumped together perfectly. This means that you can put several cubes together without leaving any empty spaces. — They multiply the vacancies, they cohabit and generate an intermediate dimension, generally not computed.


What came first, the object or the instructions? There is a photographic image of the object on the printout with the instructions. Project and record beforehand. Films: •Neutral by appointment •Neutral with a camera in hand •Neutral at noon


Glass house, São Paulo, 1951.



It insinuates aerial internal rotation, casts sparse shadows, sustains rarefied reflections. It avoids the use of proper names, changes the subject of a phrase in the middle of a sentence and it is not possible to perceive why. It confuses past, present, and future, it is sometimes difficult to know if a sentence is affirmative, negative, or interrogative.


Nobody (that is known) has executed the Neutral in other dimensions.

Nº 081

Conditions of a language:
  The search for “prime

    (“divisible” only
      by themselves and
      by unity).

Green Box note


A unique text in the work of a thinker who is not in the habit of writing, well.



sharper than the heart of any single tree

/ Silent parts – supports of the major force of
the song. This, not containing itself, abolishes the audible.
Non-idea parts, – if the "no" was made clear.

at first


Futura Now Text

ExtraLight Italic — Carlos Fajardo
Light Italic — Guillaume Apollinaire/Décio Pignatari, Lewis Carrol, Caetano Veloso, Wesley Duke Lee, Tender Buttons – Gertrude Stein, Velimir Khlébnikov/Haroldo de Campos, Melencolia I – Albrecht Dürer, Notes – Marcel Duchamp/Richard Hamilton, Esprit Jouffret, On the Mondrian's centennial and Writings with the body – João Cabral de Melo Neto / James Wright, Autobiography of Red – Anne Carson, Kasimir Malevich, Rodin – Rainer Maria Rilke, 白い装置 White device – 北園克衛 Kitasono Katsue, Lina Bo Bardi, Guenádi Aigui/Boris Schnaiderman, Preface to The Tale of Genji – Carlos Correia Monteiro de Oliveira, Object yes, object no – Gilberto Gil/Gal Costa, Wikipedia, N equation – Antonio Pedrosa

Regular — Henrique Xavier
Regular and Regular Italic — Wallace V Masuko