In this essay about Brazilian art, the critic Rodrigo Naves refers, first of all, to the formal timidity of the works produced in Brazil since the modernism of the 1920s. When compared with the modern art shown on the international circuit, which achieves its powerful, decisive look by toning down the representative nature of its component parts, Brazilian art is beset by a perceptive slowness that dampens the force of its emergence. Despite its autonomy of colors, forms, and lines, Brazilian modern art insists on delaying its visual definition and suspending its topicality. Naves illustrates that obstinate contention, that difficulty with looking outward, through an analysis of the work of artists such as Tarsila do Amaral, Ismael Nery, Anita Malfatti, and Milton Dacosta. He also mentions artists who have tried to replace the traditional contemplative approach with an openness to life, as in the cases of Hélio Oiticica and Lygia Clark: artists who transformed their work into a purely sensory experience with works that focused on the inner and/or intimate feelings of the viewer. That “difficulty of the form” led to the alternate idea of “a difficult form,” that can be easily identified in works whose intensity, determination, and expansive potential coexist with a certain tendency toward fragmentation, discontinuity, and uncertainty. Also in the works of Iberê Camargo, Oswaldo Goeldi, Eduardo Sued, Sérgio Camargo, and Mira Schendel, the author explores the force field in which those obstacles move between the energy of strong, uninhibited forms and the resistance to carrying those same forms to their utmost limits.