In this text, literary critic Flora Süssekind discusses the work of sculptor Ângelo Venosa from the time of his first solo show (1985) to his recent productions (1990). She points out the recurrence in his art of carcasses, vertebrae, teeth, skulls, fossils, facial casts, and bodily images whether cut into pieces or corroded. She asserts that there is a tension throughout Venosa’s production, a vacillation between “animation of the motionless” and “objectification of that which appears still alive.” Süssekind associates his art with certain engagements of the body (human or animal) in contemporary modern art (Venosa’s production openly dialogues, the author asserts, with works by Constantin Brancusi, Alberto Giacometti, Meret Oppenheim, Robert Rauschenberg, Selena Trieff, Gabriel Orozco, Damien Hirst, and Christine Borland). In this essay, Süssekind looks to texts that others have written on Venosa’s art. She concludes that one of the primordial characteristics of his work is the use of procedures with vacuums or intervals of material that serialize forms (sometimes a number of such procedures in a single piece); one way or another, those procedures negate the interiority of sculpture. At stake, in Süssekind’s view, is a sort of “intra-serialization” that, with slices, sheets, or rows, sheds light on the discontinuity that organizes the sculptural proposal.