Room 407

The prize awarded to Jorge Oteiza at the 4th São Paulo Biennial in 1957 rewarded a hitherto unknown Spanish artist whose oeuvre had elements in common with the Brazilian Concrete artists who worked with planes and structures, like Lygia Clark, Lygia Pape or Franz Weissmann. Oteiza presented his sculpture as an ‘experimental proposition’ based on the idea of emptying space and conceived as an ‘objective aesthetics.’

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