Artist Teresinha Soares was born in Araxá in the state of Minas Gerais. She began her artistic career in Belo Horizonte, the capital of that state, after having studied at the Escola Guignard and the Escola de Belas Artes of the Universidade Federal de Minas Gerais. In the late sixties, she took part in important exhibitions, among them the IV Salão do Distrito Federal (held in Brasilia), the II Bienal Nacional da Bahia (held in Salvador), the Salão das Caixas—organized by the Petite Galerie—and “O artista e a iconografia de massa” (held at the Escola Superior de Desenho Industrial in Rio de Janeiro). In the early seventies, Soares did a series of performances. After having worked as a film critic, Frederico Morais (b. 1930) began publishing texts in defense of the experimental avant-garde in a number of Belo Horizonte-based newspapers. In 1967, he moved to Rio de Janeiro, where he worked intensively as a critic, addressing themes implicit in this text, such as the questioning of artistic categories—in this case, painting is undermined by Soares’s “box-oil paintings” and by the very idea of the “object” in the contemporary world. For additional information, see another artist from Minas Gerais, Marília Giannetti Torres, whom Morais writes about in “Revisão do método critico” . In it, Morais discusses the specificity of Giannetti Torres’s pictorial work when it is read in relation to Ferreira Gullar’s “Teoria do não objeto” (1960).