Geraldo de Barros, questioned the Brazilian photography of amateur and academic pictorial tradition that valued classic composition standards. His experience investigates the boundaries of the traditional photographic process when carrying out interventions directly on the negative, multiple expositions of the same film, overlaying, montages and cuttings of the enlargements that question the rectangular shape of photography.In 1950, he carried out, at MASP, the exhibition Fotoformas, which merges engraving, drawing and photography, inaugurating abstractionism in Brazilian photography.

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