While Calder translates cosmic motion into linen and wool, transforming tapestry from artisan craft into high-modernist experiment, Dos Prazeres paints the syncopated pulse of Rio’s rodas de samba with a palette that owes as much to urban signage as to continental avant-gardes. Da Silva, self-taught on the banks of the Acre River, invents a bestiary of serpents, harlequin fish and spectral vegetation that feels simultaneously folkloric and proto-psychedelic. Together their practices redraw modernism’s centre of gravity: North-American kinetic theory, Afro-Brazilian street culture and Amazonian cosmology meet on equal footing, exposing how tightly woven local traditions and global abstraction have always been.

For collectors, the significance extends beyond aesthetics. Institutions from MoMA to MASP are racing to close geographical gaps in their twentieth-century narratives, and the surge of scholarly interest is filtering rapidly into market demand. Acquiring an example from this group now secures a stake in a moment of art-historical correction—one that promises both cultural resonance and capital upside as these long-undervalued voices claim their rightful visibility.