After being shown from January 19 to March 23 in São Paulo, Brazil, at the Nineteenth-century museum space that houses the Pinacoteca do Estado, the impeccable anthological exhibit Tarsila Viajera (Tarsila Travels), curated by Regina Teixeira de Barros, arrived at MALBA (Latin-American Art Museum of Buenos Aires), Argentina. This event inaugurates MALBA¿s exhibition season and showcases an innovative exhibit design that goes well with the new venue housing this monographic show. This important exhibit consecrates one of the most important and prominent figures in Brazilian Modernism. It has been extended from May 27 to June 2 and is accompanied by a valuable catalogue-book, published in three languages. The group collections in Brazil and Argentina, and includes paintings and drawings and coincides with the 80 Anniversary of the Anthropophagic Manifesto. Tarsila do Amaral (Capivari, State of São Paulo ¿ 1886, São Paulo, State of São Paulo ¿1973) traveled a great number of times throughout Europe, Latin America, and the Middle East. In sketches and drawings, the artist took notes on everything she saw and found unique during her travels. This work methodology allowed her to ¿discover¿ and ¿rediscover¿ her native Brazil from a wide open, cosmopolitan, uninhibited, and profoundly renovating perspective. This anthology, according to what its curator Regina Teixeira de Barros wrote concerning it, ¿attempts to deepen a particular angle of this artist¿s production ¿ one of many possible prisms ¿ that deals with the role do Amaral¿s trips played in her formation and in the development of her visual repertoire, with its subsequent immersion in a larger research project on Brazil¿s roots¿. The thematic centers, milestones of her artistic production, are all present in Tarsila Viajera: these drawings representing trips and periods on the magical and profound Brazilian inland that is truly caipira (bucolic) ¿ a word the artist liked using to define herself ¿ namely those referring to the Mina Gerais and Rio De Janeiro regions, medullar works from the anthropophagic period and the works created for Pau Brasil. ¿I have found in Minas Gerais, the colors I used to love when I was a little girl¿, the artist would assert with great amazement, no matter that because of their popular cultural origins they were frowned upon by the upper class of the time. As part of the joint collaborative effort with the Pinacoteca do Estado in São Paulo, the MALBA Museum temporally lent to that Brazilian institution the work Abaporu (Eater of Human Flesh), which belongs to the Constantini Collection. It is important to stress that the three most emblematic pieces by Tarsila do Amaral are being exhibited together for the first time with a splendid montage design. These are A Negra (The Black Woman), Antropofagia (Anthropophagy), and Abaporu (Eater of Human Flesh). These three manifest the ¿beautiful-extreme¿ of that Brazilian identity proposed by Tarsila, which is not mindful of dogmas but that is fluid or, in other words, it is an identity not visualized or presented as a categorical imperative. It is important to acknowledge the essential contribution to this exhibit of the prestigious Brazilian art critic and art historian Aracy Amaral, who was charged with developing the carefully considered project of cataloging Tarsila¿s work since the decade of the Seventies. This contribution by Amaral is both a point of inflection and an obligatory bibliography for those deciding to get close to the work of Tarsila do Amaral. Aracy Amaral¿s project is at its final stage, and it is estimated that this catalog will be released during the first semester of 2008.