Exhibition·April 24, 2026·São Paulo, Brazil
Sandra Gamarra Heshiki: “Réplica”
MASP – Museu de Arte de São Paulo and Museum of Art of Lima (MALI)
Sandra Gamarra Heshiki. La Independencia del Perú is part of the diptych Las independencias (2020). Mixed media on canvas, 161 × 200 cm. Image originally published to accompany the artist’s monographic text written by Carlos Jiménez for ArtNexus, No. 117
The Museu de Arte de São Paulo Assis Chateaubriand (MASP) presents the exhibition “Réplica,” dedicated to the Peruvian artist Sandra Gamarra Heshiki. Open until June 7, 2026, the show brings together 72 works created since 2003 and offers a broad overview of the artist’s career, marking the first panoramic exhibition devoted to her practice. The project is curated by Adriano Pedrosa, Florencia Portocarrero, Guilherme Giufrida, and Sharon Lerner.
The exhibition is structured to evoke the conventional chronology often used in Latin American art museums. The display is divided into six sections—pre-colonial (Inka and pre-Inka), colonial, post-independence, modern, contemporary, and LiMac—creating a dialogue between different historical periods and the artist’s reinterpretations of them. A central aspect of Gamarra’s practice is the use of appropriation, copying, and intervention on works from various moments in art history, strategies that play a key role throughout the exhibition.
Gamarra began her career in the mid-1990s, working with painting and installation. In 2002, she founded the LiMac Museo de Arte Contemporáneo de Lima, an imaginary museum based on reproductions of contemporary artworks taken from books and magazines available in Peru, conceived as a reflection on the limited presence of public art collections in the country. That same year, she moved to Madrid, where her work began to critically examine the violence associated with certain artworks from the colonial period, as well as the ways museums classify and display their collections.
This exhibition was co-organized with the Museum of Art of Lima (MALI) and will later travel there for presentation.
The exhibition is structured to evoke the conventional chronology often used in Latin American art museums. The display is divided into six sections—pre-colonial (Inka and pre-Inka), colonial, post-independence, modern, contemporary, and LiMac—creating a dialogue between different historical periods and the artist’s reinterpretations of them. A central aspect of Gamarra’s practice is the use of appropriation, copying, and intervention on works from various moments in art history, strategies that play a key role throughout the exhibition.
Gamarra began her career in the mid-1990s, working with painting and installation. In 2002, she founded the LiMac Museo de Arte Contemporáneo de Lima, an imaginary museum based on reproductions of contemporary artworks taken from books and magazines available in Peru, conceived as a reflection on the limited presence of public art collections in the country. That same year, she moved to Madrid, where her work began to critically examine the violence associated with certain artworks from the colonial period, as well as the ways museums classify and display their collections.
This exhibition was co-organized with the Museum of Art of Lima (MALI) and will later travel there for presentation.
Sandra Gamarra Heshiki. La Independencia del Perú is part of the diptych Las independencias (2020). Mixed media on canvas, 161 × 200 cm. Image originally published to accompany the artist’s monographic text written by Carlos Jiménez for ArtNexus, No. 117
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