The Pinacoteca of São Paulo, a museum of the São Paulo State Secretariat of Culture and Creative Economy, for the first time will exhibit to the museum’s visitors, from February 16 to June 17, 2019, four works that have been recently added to its collection. With sponsorship by Água Ama, works by Marcius Galan, Débora Bolsoni, Regina Parra and Matheus Rocha Pitta occupy four rooms (A, B, C and D) adjacent to the long-term exhibition on display on the second floor of Pina Luz. Curated by the Núcleo de Pesquisa e Curadoria da Pinacoteca [Research and Curatorship Department of the Pinacoteca], and taking as a starting point the institution’s own collection, the selection proposes to establish a counterpoint between the historical and the contemporary.In room D, the artist Matheus Rocha Pitta, born in Minas Gerais, presents the interactive installation Primeira pedra [First Stone] (2015-2016), offered as a donation to the museum by the artist himself and by the art gallery that represents him. The work is composed of concrete cubes that can easily be picked up and held in the palm of a hand, which have been placed on top of pages of the previous day’s issue of the local newspaper. The cubes are offered to the public in exchange not for money, but for another stone: to possess one, the visitor must exit the museum and bring back the first stone they find out in the street. The work radicalizes the concept of multiples to its extreme, whereby each piece can be taken home by the visitor as a work of art, thus affirming the link between the museum and the city through the gesture of each individual.Also on view in room D, are four works from the series Acordo [Agreement], composed of floor/roof slabs that show an archive of photographs taken from newspapers, portraying people as they perform agreements – gestures such as handshakes, hugs and kisses. Throughout his artistic trajectory, Rocha Pitta (Tiradentes, 1980) has sedimented interests and strategies that allow one to identify, in a practice that gains density and grows increasingly consistent at every new presentation, a critical articulation on the exchange mechanisms that govern common life. In 2014, the artist participated in the Taipei Biennial and in the group show Blind Field at Kunst IM Tunnel in Dusseldorf, and in 2013 he held the solo exhibition Acordo [Agreement] at Fondazione Morra Greco, in Naples, Ital