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Photograph by Claudio Oiticica.) In his efforts to create more inclusive art with the Bólides and Parangolés, the art museum became a repressive venue for Oiticica, prohibiting Brazilians at the margins of society from participating in his work. During the inauguration of his Parangolés at the “Opinião 65” exhibition in the Museu de Arte Moderna in Rio, museum authorities forbade the artist from entering with his Parangolé-clad friends and samba dancers from Mangueira. In response, Oiticica took his exhibits outside, to a park surrounding the museum, where they danced and celebrated. What pulled the entirety of Oiticica’s work together was a common thread of revolt throughout his career—first, against the constraints of the canvas, and later on, in defiance of the art museum’s isolationism. In 1967, Oiticica’s politically inspired art reached its climax with Tropicália, a watershed work that has served as a manifesto of sorts for Brazil’s avant-garde. It’s an ironic portrait of Rio de Janeiro, intentionally embodying Brazil’s most visible clichés: sand, luscious plants, and tropical birds. During this period, Oiticica grew more focused on delivering a political message. Tropicália contains a gravel path that surrounds two Penetrables—one of which, in its bright, tomato-red interior, reads “A pureza é um mito” (“Purity is a myth”). Drawing on Rio’s favelas, the two Penetrables and the gravel spread along the sand—as well as ominous poems by Roberta Salgado, which are painted on tiles—provide a rough contrast to the tropical image that is conjured in the rest of the installation. Tropicália’s critical commentary inspired the Brazilian musician Caetano Veloso to name a song on his debut studio album after the installation.
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