Brazilian Concrete art theorist Waldemar Cordeiro discusses the exhibition Propostas 65, which was conceived and organized by artists. In Cordeiro’s view, what is called “proposal” art is radical insofar as it entails collective, rather than individual, expression. It follows in a specific context open to direct dialogue. In his text, Cordeiro places emphasis on the semantic value of this strain of art and how ideas are applied. In other words, he discusses how the medium transforms information whose origin lies in international art. Cordeiro identifies contemporary realism with criticism of the historical development of the culture of the image, including the evolution of the concept of “medium” and of the narrative in mass culture and design. For Cordeiro, this contemporary realism entails the “creation,” “codification,” and “reading” of a new visual reality, one wholly different from traditional artistic genres. He writes briefly about some of the artists in the show who exemplify this movement, mentioning specifically Abraham Palatnik, Ubirajara Ribeiro, Ruben Martins, Pedro Escostéguy, Antonio Manuf, Efizio Putzolu, Mona Gorovitz, Waldomiro de Deus, Ângelo D’Aquino, Samuel Szpigel, Maurício Nogueira Lima, Rubens Gerchman, architect Sérgio Ferro, set designer Flávio Império, Carlos Vergara, Miriam Chiaverini, and Nelson Leirner.