the Galeria Arte e Fato. In Rio de Janeiro, the Thomas Cohn Arte Contemporânea show featured her works in 1990, 1992, and 1995. Critical reception Lia is most famous (or infamous, rather) for her deconstruction of childhood through the transmogrification of dolls and plastic toys, which she began to explore during the 1990s. Katia Kanton, writing in Poliester Magazine, describes her work this way: "In her strange formal operations, Lia Menna Barreto defies the sweetened way of looking at the world of children. Her radical vision engenders a relevant social commentary that is involved with and questions the oppression of the everyday experience, full of mutilations and losses and feelings of safety and danger." Also on the subject of Barreto's work with dolls, Paulo Herkenhoff says: "In Menna Barreto's work, the experience is that of the unlearning and of the transgression. The crisis, more precisely, is that of the subject itself." References Katia Kanton. "Lia Menna Barreto defies the sweetened way of looking at the world of children." Poliester Magazine, vol 6, n 21, 1997/98 Waquil, I. (2014). A energia feminina lida melhor com os mistérios. In L. Maus, A Palavra Está com Elas: Diálogos Sobre a Inserção da Mulher nas Artes Visuais. Porto Alegre, RS, Brazil: Panorama Crítico. External links http://www.itaucultural.org.br Living people 1959 births 20th-century Brazilian women artists 21st-century Brazilian women artists 21st-century Brazilian artists People from Rio de Janeiro (city)