“[I]n the 1960s…, I made a rather simple material structure: a square, which was the surface of the painting itself, divided, for example, into four other squares. Inside them, I painted automatically, one image drawing out the other. It was a free association of the symbolic. The whole enhanced by my fetishes and those of the ‘others,’ little wooden boxes containing upholstered bags full of stitching, guts, and hearts, sausages/penises and broken fists of plaster statues, stained pillows, and acrylic boxes full of cotton or nails.” Lucia Carneiro and Ileana Pradella, Antonio Dias (Rio de Janeiro: Nova Aguilar and Centro de Arte Hélio Oiticica, 1999), 12–3. Translated for this exhibition.