Brazil has its own, of course, very peculiar situations in how also we have to learn, I mean, as an artist, how to deal with this situation, how to deal with the ideas, and make it become more — not only metaphorically, I don’t like metaphors so much, but using all the systems that I — I started to pick up other systems even on how the Jesuits used to teach the Indians about the religion, how they made the images. It has a name, this kind of education. I went to this kind of very out of fashion — yes, I made the postcards, and I put this title there, the A Pao Nosso de Cada Dia which is a pray and things like that, which is — I mean even for myself it was strange, old phrase of that, but I thought “But the image says what’s going on” how many meanings can be — you don’t think “Ah, how many meanings.” You do the work. ((Hole In The Wall, Shadow Chamber)) I’m going to eat the bread. ((Coffee Machine)) In fact I have to do that again.

In the Venice Biennale, they asked me to do at the moment the same kind of thing. Eating the bread that becomes a Brazilian map, then in a little minute you eat becomes the South America, Latin America let’s say. And in these kinds of times, ’75, ’77, my work gets into more, not that I’m saying “Ah, I’m going out to play.” No, it came to me another way of not suffering on the situation and sending a message, but not making a pamphlet in the sense — of course I know how to make a pamphlet. I learned when my teachings in the 50s, I knew how to make some ideas that are from the pictures that brought to us I mean some ideas, because it was very political.