Beatriz Milhazes: 100 Sóis is the artist’s first solo exhibition in Salvador and brings together, at MAB – Museu de Arte da Bahia, an extensive selection of works spanning 30 years of her production. The exhibition offers a view into different phases of her career while highlighting recurring elements that structure her artistic language.

Curated by critic and art historian Tiago Mesquita, the exhibition presents historical paintings, new works, recent collages, and an installation on the museum’s windows, revealing how different media feed into Milhazes’s ongoing research. Painting stands at the core of this practice as her primary medium in the studio, reverberating across her entire body of work.

The works are arranged in a kind of spatial collage, revealing both the breadth of Beatriz Milhazes’s formal repertoire and the sophistication of her compositional strategies. Within this configuration, her works engage in dialogue with modern art across different geographies, as well as with the constructive tradition, design, fashion, Rio de Janeiro’s carnival culture, allegory, ornament, baroque decoration, and a choreography of dancing forms. At the same time, they incorporate structural questions of pop imagery, a dimension that runs throughout her career and affirms her position as one of the central voices in contemporary abstraction.

The artist presents a new stained-glass installation conceived for the museum’s windows, in which her signature patterns are applied to multicolored translucent films that filter sunlight and cast kaleidoscopic beams throughout the exhibition space. Also on view is A Seda, an emblematic work from the 2000s, in which graphic elements in vibrant colors expand outward from the center of the canvas in a centrifugal movement. At its core, a dense network of lace-like arabesques forms the heart of the composition, combining fluidity and order within an organically expanding structure. In more recent works, such as Memórias do Futuro II (2023), Milhazes overlays acrylic-ink pen drawings onto forms transferred through her monotransfer technique, adding a new layer of pattern to the intricate play of rotating grids and creating strata that articulate a complex, multidirectional network.