order to more accurately communicate his thoughts. Camargo’s work has been linked due to its distinct reliance on simplicity, systems, and uniformity through volumetric elements and color. Critic Ronaldo Brito refers to Camargo’s work as “the madness of order”. Carmargo confronts the human perception of a paradigm and attempts to break understanding of the laws of the object. Camargo does not interrogate this subject in a conceptual realm but through the ever-changing effects of visual light. It is because of his unique style, that Camargo stands apart from his contemporary peers. Exhibitions Camargo’s work is represented in the collections of the Albright-Knox Art Gallery, Buffalo, NY; Birmingham Museum of Art, AL; Centre national des arts plastiques, Paris; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, DC; Kunstmuseum, Bern, Switzerland;Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art, New York; and the Tate Modern, London. In 2000, the Paço Imperial, Rio de Janeiro, opened a permanent exhibition space for the artist, which includes a replica of his art studio in Jacarepaguá, Brazil. Camargo’s work has been the subject of major retrospectives at the Museu de Arte Moderna, Rio de Janeiro, in 1993; the Stedelijk Museum, Schiedam, in 1994; and the Instituto de Arte Contemporânea, São Paulo, in 2010, which traveled to the Museu Oscar Niemeyer, Curitiba, Brazil, in 2012. References Further reading Brecheret, Vítor. Brazilian sculpture from 1920 to 1990. Washington, DC: Cultural Center, Inter-American Development Bank, 1997. Brito, Ronaldo. Sergio Camargo: Espacos da arte brasileira. São Paulo: Cosac & Naify Edições, 2000. Modern painters University of Paris alumni 1930 births 1990 deaths Brazilian contemporary artists Brazilian expatriates in Argentina Brazilian expatriates in France