2026_TEK_hanging

What Comes Next

May 28 – Jun 20, 2026


Opening

May 20, 6 pm–9 pm


FDAG Barra Funda

Efrain Almeida | Anderson Borba | Tiago Carneiro da Cunha | Leda Catunda | Tamar Guimarães | Sheroanawe Hakihiiwe | Sergej Jensen | Cristiano Lenhardt | Ivens Machado | Robert Mapplethorpe | João Maria Gusmão & Pedro Paiva | Rodrigo Matheus | Ernesto Neto | Rivane Neuenschwander | Wanda Pimentel | Mauro Restiffe | Valeska Soares | Gokula Stoffel | Tadáskía | Erika Verzutti | Frank Walter | Jesse Wine

What Comes Next / O Que Vem Depois is a group exhibition curated by Tamar Guimarães and Kasper Akhøj, bringing together artists from Fortes D’Aloia & Gabriel’s  program across generations. Drawing on their longstanding engagement with narrative structures, circulation, and the unstable status of images, Guimarães and Akhøj conceive the show  as a spatial proposition that resists fixed definition. What is assembled here could be thought of as an archive, a business lounge, or a sacrificial site—frameworks that never fully settle, yet condition what takes place within them.

Works by Anderson Borba, Cerith Wyn Evans, Cristiano Lenhardt, Efrain Almeida, Erika Verzutti, Ernesto Neto, Frank Walter, Gokula Stoffel, Ivens Machado, João Maria Gusmão & Pedro Paiva, Leda Catunda, Mauro Restiffe, Rivane Neuenschwander, Robert Mapplethorpe, Rodrigo Matheus, Tadáskía, Tamar Guimarães & Kasper Akhøj, Tiago Carneiro da Cunha, Valeska Soares, and Wanda Pimentel are placed in proximity so that they complicate and extend one another, forming a constellation shaped by association rather than taxonomy.

Across sculpture, photography, film, and installation, the exhibition unfolds through a set of shifting relations in which bodies, objects, and images remain in flux. A reclining figure may suggest leisure as much as anticipation; an object may appear as body, support, or remainder, depending on where and how it is encountered. Nothing is fully contained within itself, but continues elsewhere, taking on new forms as it circulates. The solid stone bench Altar Menor, by Guimarães and Akhøj, registers this condition in mineralized form, as if an earlier, animate state had passed into a site of offering that is not entirely separate from exchange, waiting, and negotiation. In this context, the exhibition reflects on the art market as a field in which value follows desire and is intensified through transformation: works are offered, held back, and altered as they move, accruing meanings and conditions beyond their point of origin.

The exhibition features a text by Tamar Guimarães.