The worldwide impact created by the inauguration of the country’s new capital city was also expressed in the arts. The visual nature of concrete poetry—whose movement published its manifesto, Plano Piloto, that year—had a ripple effect in countries such as Germany and Japan, where similar trends were emerging. The cover of the flier for the tenth edition of the salão reflects that kind of graphic approach in very simple terms; the “0” in the (centered) number “10” is shown in two alternative positions, creating other readings: “b” (above) and “p” (below).
The list of participating artists who had exhibited at previous salãos includes Bonadei, Wladyslaw, Ferrari (Arnaldo and Donato), Zanini, Renina Katz, Wega, and so on. Arcângelo Ianelli, José Gamarra, and Nelson Leirner were among the younger artists who had participated on previous occasions; in this group, notable works were presented by Darcy Penteado (drawings), Ubirajara (watercolors), and Antônio Henrique Amaral (prints).
Constructive works were presented by Lothar Charoux (“inscribed figures”), Samson Flexor (“paintings” produced that year, 1961), Luis Sacilotto (metal “concreciones”), and Waldemar Cordeiro (an “informal account of color”). The flier also provides a list of prizewinning artists during the salão’s decade of activities and the total amount of prize money awarded.