Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Through prior bequest of Joseph Winterbotham; through prior gift of Mr. and Mrs. Samuel M. Nickerson
Extended information about this artwork
Museu de Arte Moderna do Rio de Janeiro, 1a. exposição neoconcreta, exh. cat. (Rio de Janeiro: Museu de Arte Moderna, 1959), n.p., cat. 20 (as Unidade no.1, 2nd versão).
Ferreria Gullar, Experiência neoconcreta: momento–limite da arte, facsimile reprint of the catalogue 1a. exposição neoconcreta (São Paulo, SP: Cosac Naify, 2007), n.p. (as Unidade no.1, 2nd versão).
Museu de Arte Moderna do Rio de Janeiro, 1a. exposição neoconcreta, Mar. 19–Apr. 19, 1959, cat. 20 (as Unidade no.1, 2nd versão).
Salvador, Galeria Belvedere da Sé, Exposição Neoconcreta, Nov. 13–27, 1959 or Nov. 15–30, CAT INFO? Museu de Arte Moderna, Belo Horizonte, Jan. 1960?
London, Signals, Lygia Clark, May 27–July 3, 1965, no cat.
Salvador, Brazil, Convento do Carmo, La Bienal nacional de artes plásticas da Bahia, Dec. 28, 1966–Feb. 28, 1967, CAT. INFO?
The artist; given to Yve-Alain Bois, Paris, by 1976 [this and the following according to email from Yve-Alain Bois, July 30, 2021; copy in curatorial object file]; given to his sons, Alexandre Bois, Philadelphia, and Benjamin Bois, Ringoes, NJ, Oct. 2006; sold to the Art Institute of Chicago, Nov. 9, 2021.
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