The result of the exhibition that celebrated the 40th anniversary of the Galería Luisa Strina represented a great revisiting of the recent history of Brazilian art. Titled "I Represent the Artists. Revisited," the group exhibition, curated by Fernando Arruda, explored the rich and unique qualities in the history of the first contemporary art gallery in São Paulo. Strina is an emblematic example of when the actions of an art dealer contribute to the direction of art in a country. The exhibition revealed a personal and intimate look at the history of the gallery through the last 40 years. It was not a retrospective but a cartography of its decisive moments. It included works by a diverse group of artists—from their early, mid or already established career—who rely on a wide range of conceptual supports. From the beginning, the gallery stood out for an unconventional approach that developed and empowered several communities. The exhibition showed the different directions taken by artists associated with the gallery. It included important works that reflect the personality of the gallery and explores a possible cartography of timelines, influences and artistic inspirations and the places to which such cartography could ultimately lead. Some of the key works in the exhibition are portraits of Luisa Strina, one made by Wesley Lee, and another, on wood, by Luis Paulo Baravelli. These works illustrate the origins of the gallery, which began in 1974 at Barvaelli's studio, when a group of artists were looking for someone to represent them. And that was the beginning of a gallery driven by a desire to open up to the world and to an eclectic array of proposals that reflected different points of view. The exhibition included all the generations of artists that the gallery has represented. Leonilson, Leda Catunda, Caetano de Almeida and Edgard de Souza illustrate an important transition for the gallery, as all of them attended the Fundação Armando Alvares Penteado (FAAP), the art school where Nelson Leirner, Regina Silveira and Julio Plaza taught during the 1980s. It reflects an important period in Brazil, in which the beginning of a more formal artistic education ended with the conclusion of the military dictatorship. Antonio Dias, represented by the gallery for nearly 30 years, participated with the installation Quarto de Carne com Anima (Flesh and Soul Room) created in 1966 for the gallery's original space; the walls were covered with paper that mimicked the artist's skin. Nelson Leirner, a central figure in Brazilian contemporary art— and one of the first artists to exhibit in the gallery—presented a piece from the series A Hard… Not So Hard Line, part of an exhibition-performance from 1978. Cildo Meireles showed one of the first works that he exhibited in the gallery: Oscura Luz (Dark Light, 1982), a sculpture that explores the idea of perception based on a political perspective. All of the artists represented in the commemorative show were, at some point or another, part of the program of the gallery. They are: Caetano de Almeida, Juan Araujo, Tonico Lemus Auad, Luiz Paulo Baravelli, Leda Catunda, Alexandre da Cunha, Antonio Dias, Wesley Duke Lee, Marcius Galan, Fernanda Gomes, Nelson Leirner, Leonilson, Dora Longo Bahia, Mateo López, Jorge Macchi, Marepe, Marcellus L., Cildo Meireles, Antoni Muntadas, Regina Silveira, Mira Schendel, Alan Shields, Edgard de Souza and Tunga. Central names in Brazilian art, they also define the professional trajectory of a gallery owner that helped telling this story.