The works by these and other Brazilian artists traveled to New York and Washington, in the US, and to Mexico City, Jalapa and Aguascalientes, in the Republic of Mexico, among other places. This has been possible as result of the committed efforts of Eduardo Besen and Sheila Goloborotko. Besen is owner and director of the Gravura Brasileira gallery, in Brazil, centered on printmaking. Goloborotko is an artist, architect, visiting professor of Printmaking at SUNY New Paltz and the artistic director of the Printmaking Center of New Jersey.
The exhibition included a total of twenty-two artists and remained open for two months at the International Print Center in Chelsea. As soon as they step out of the elevator, the public was confronted with "Lambe-Lambes" on both sides of the gallery's double doors. A pertinent choice that appropriately represents the multitude of printmakers immersed in this discipline. Lambe-Lambes are displayed on the streets, in places where they can be shared with the general public as an alternative to commercial advertising. They are sticker-like posters that, instead of being reproduced in offset, are engravings by emerging and well-established artists. They remind us of the idea of printmaking as a tool for sharing and affirm the street art movements that have been occurring in Brazil. These Lambe-Lambes were created by Maura de Andrade, Sergio Kal, Mauricio Parra, Regina Pinto, Yili Rojas and Carlos Henrique Soares.
The exhibition space of the International Print Center New York offered a tripartite curatorship by Eduardo Besen, Rodrigo Naves and Priscilla Sacchettin. Artists from the northeastern region—which stands out for its string prints—the Amazonian region, Rio de Janeiro and São Paulo, were selected from among other candidates across Brazil. The show presented a varied group of pieces, from works mounted on the wall to installations on suspended translucent fabrics—like the engraving on tulle by Alexandre Sequeira. Textiles are a support frequently used among the artists participating in the exhibition. Sheila Goloborotko also used fabric on the pillows that are part of her project entitled 1001 Dreams—this artist participated with a video.
The framed prints of papers sat in contrast to other unframed works of irregular shapes and this created a balance also sought by the curatorship in other aspects of the show. Conceptually solid works were exhibited in a display case placed at the center of the exhibition area. Among these, there were those by Kika Levy, who using drypoint developed a personal geometric-constructive poetic. Augusto Sampaio stands out for work to a great extent based on his interaction with street children. Laerte Ramos is one of the participating artists that work with felt (a material made relevant in art by Joseph Beuys). Nina Kreis, Fabrizio López and Ulysses Bóscolo offer several perspectives on everyday life and the landscape. Likewise, several approaches to architecture, the urban landscape and geometry can be found in the work of Cleiri Cardoso, Marco Buti and Alberto Martins. The exhibition conveys the vast and diverse expressions of the language of printmaking in Brazil.