Environmental Art, Postmodern Art, Hélio Oiticica Now that we have arrived at the end of what has been called “modern art,” inaugurated by [Pablo Picasso’s] Les Demoiselles d’Avignon, and inspired by the (then) recent discovery of African art, criteria for appreciation are no longer the same as the ones established since then, based as they were on the Cubist experiment. By now, we have entered another cycle, one that is no longer purely artistic, but cultural, radically different from the preceding one and begun (shall we say?) by Pop art. I would call this new cycle of antiart “postmodern art.” (In passing, let us say that, this time around, Brazil participates not as a modest follower, but as a leader. In many regards, the young exponents of the old Concretism and especially of Neo-Concretism (as led by Lygia Clark) have foreshadowed the Op and even Pop art movements. Hélio Oiticica was the youngest of the group.) In the apprenticeship phase and in the exercise of “modern art,” the ...