Paulo Nazareth
Nicole Martinez on Melee

July 2019
Contemporary And América Latina

'In his first U.S. retrospective, the Brazilian artist offers a journey to understand the oppressive, exploitative nature of colonial history in his country: his subjects are neither good nor bad, just forgotten' writes Nicole Martinez on Melee at the the Institute of Contemporary Art, Miami.

Art Agenda, May 2022

'Nazareth’s critique demonstrates how the culture industries are at the vanguard of hyper-commodification of anything and everything', writes Oliver Basciano on Vuadora the artist's overview exhibition at Pivô, São Paulo.

Terremoto, 2 February 2025

'Nazareth demonstrates that an activity that may seem ordinary to some, such as walking, can still be used to point to the past and give meaning to the present', writes Mari Carmen Barrios Giordano in response to Luzia, Paulo Nazareth's solo exhibition at Museo Tamayo. 

Burnaway, July 2019

'Like his contemporaries Rosana Paulino and Jaime Lauriano, Nazareth belongs to a cadre of Afro-Brazilian artists who treat Brazilian history as an object of sustained and rigorous scrutiny. Their work revisits violent episodes in their country’s past, grapples with archives and the aftereffects of colonialism, and interrogates the marginal social status of exploited people' writes Ade J. Omotosho in light of Paulo Nazareth's solo exhibition at the Institute of Contemporary Art, Miami.

Frieze magazine, March 2015

Gideon Lewis-Kraus traces the transcontinental journeys of Brazilian artist Paolo Nazareth

Africanah.org, October 2015

As other artists and scholars have targeted ethnographical museums effectively, questioning their colonial heritage, Nazareth adds elements of his personal history to the discourse, writes Machteld Leij

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