The iconography of Candomblé, the codes and symbols of Umbanda, and various objects of worship can be seen in the pungent sculptures and vivid paintings of artists Abdias do Nascimento, Mestre Didi, Rubem Valentim, and Agnaldo dos Santos. Everyday scenes portraying festive traditions and communal activities are transposed onto canvas and tapestry by Maria Auxiliadora, Heitor dos Prazeres, Madalena dos Santos Reinbolt, and Elisa Martins da Silveira. The inclusion of these latter artists, whose works remained somewhat overlooked but have recently received increased institutional attention and interest from national and international collections, represents a significant shift in art historical narratives.

There is a textile piece by self-taught artist Madalena dos Santos Reinbolt that perhaps reifies the heterogeneity of aesthetic idioms in Some May Work as Symbols. Titled Untitled (1969-77), the embroidered tapestry, one of the first works encountered upon entering the exhibition space, is a colourful translation of the main forms and mediums on display. It depicts what could be described as an attempt at geometric abstraction that is ultimately absorbed by an uncoordinated choreography of sorts. The abstract shapes, despite their supposed geometric precision, become almost figurative. One can spot a bit of everything in this work: the small multicoloured circles, tightened up at the bottom, seem to illustrate a busy social gathering, and the green and red lines at the centre cannot keep up with their intended rigour, expanding and dancing to the sound of rhythms.

This is indeed an unmissable show for those interested in gaining insight into Brazilian culture between the 1950s and 1970s, as well as for the fellow UK-based Brazilians – and cariocas like myself – who wish to be captivated once again by the fascinating and contrasting landscape of Brazilian art.