The artwork of Antonio Dias (1944-2018) uniquely captures the interwoven histories of Brazilian postwar realism and of European conceptualism in the 1960s and 1970s. By tracking Dias's ever-shifting works and circulation as he moved from Rio de Janeiro to Paris, and then to Milan, Borderless Painting as Borderless Art provides the first in-depth study of the artist. S rgio B. Martins uses Dias's trajectory as a lens to explore different approaches to avant-gardism and its crisis in Brazil, France, and northern Italy, weaving in the perspectives of figures such as H lio Oiticica, Harald Szeemann, Pierre Restany, Giulio Paolini, and Tommaso Trini, as well as the Fluxus movement. The book ultimately argues that Dias pitted his formation in a semi-peripheral avant-garde against a post-avant-gardist milieu where commodity culture and market relations were far more pervasive and determinant vis- -vis the arts scene.
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