Brazil gained international recognition in 1958 after winning soccer’s Jules Rimet Cup in Sweden. The cover design of the flier for the seventh edition of the Salão underscores Concrete art’s powerful influence in the country as a whole and, in this specific case, at a government level. The exhibition opened on June 6, 1958, in the same space where previous versions of the event had been held. In honor of the painter Lasar Segall (b. 1889; d. 1957), who had recently passed away, the Salão held a “posthumous tribute” and exhibited two of his works, Bananal and Naturaleza muerta. José Pancetti (b. 1903; d. 1958), who had also died recently, was similarly honored: his tribute consisted of a self-portrait and a landscape painting of the Campos do Jordão. The flier includes a brief biography of the two artists.
Well-known artists, such as Danilo di Prete, Jacques Douchez, Mário Zanini, Nelson Leirner, Manabu Mabe, and several Japanese-Brazilian artists (Fukuda, Fukushima, Yayanagui, and Ohtake) once again showed their works at this event. Among the younger artists, Antônio Henrique Amaral presented three prints, and Marcelo Grassmann showed a lithographed print. In the architecture category, the Luis Anhaia Mello and Mayumi Watanabe teams presented a residence and Colonia de vacaciones en Ilhabela, respectively. Works by the following participating artists were included in the Adolpho Leirner Collection: Judith Lauand and Arnaldo Ferrari (Constructive art); Hércules Barsotti and Lothar Charoux (drawings; in the case of the latter, his Serie Cuadrados).
As a matter of interest, the forerunner of Argentinean Conceptualism during the following decade, Alberto Greco (b. 1931; d. 1965)—whose address was shown as rua 7 de Abril s/n, the premises of the MAM (Museu de Arte Moderna de São Paulo)—also participated in this event, where he showed two Informalist paintings. In the drawing category, Greco presented a work rendered in a Tachisme style.