File:Acupuntura Urbana- Os Cavaletes de Lina Bo Bardi do MASP - Teatro Oficina.webm

English: Glass easels were designed by Lina Bo Bardi for the MASP inauguration in 1968. They are an important international museographic contribution: Lina has made the works leave the walls of the traditional museum with the aim of "returning the painting to the air." Exposed on the easels, we have the work in the foreground and its first impact on the sensibility, being necessary, to know the title and description of the author, that the visitor sees behind the easel.

Removed from MASP in 1996, the paintings were then exposed on plaster walls that occupied the entire floor of the Museum, including the blocking of the windows overlooking the Paulista Avenue on one side and the Belvedere on the other.

In 2013, the Teat (r) Uzyna Uzona Workshop made - at the invitation of the Swiss curator Hans Ulrich Obrist - theatrical actions for the works of Lina Bo in the city of São Paulo; An Urban Acupuncture to play in the "punti ostruito" of Lina Bo's body of work, returning to the initial desire of the "architect's" projects, aiming at the necessary complements in each of her works. At the time the Oficina Theater was prevented by the old board from entering the MASP. The audiovisual material produced in this performance served as the basis for the Cinematicattachment Rite of the Centennial of the Architect Lina Bo Bardi in 2014, which took place at Teatro Oficina.

Already in 2015, under new direction and curatorship, Glass Easels were taken over by MASP, in the project known as Acervo en Transformação. In the words of the curator, "The return of the trestles is not a nostalgic or fetishistic gesture towards an iconic expography, but must be understood as a revision of Lina Bo Bardi's museological program with its spatial and conceptual contributions. Is suggested by the open, transparent, fluid, and permeable gallery that offers multiple possibilities of access and reading, eliminates hierarchies, predetermined scripts, and challenges canonical narratives of art history.The gesture of removing the paintings from the wall and placing them on the easels points In order to make them more familiar to the public, and on the other hand, the informational legends placed on the back of the works allow a first encounter with them free from contextualizations of the history of art. More humanized, plural and democratic ".

It remains now, in 2017, to open the shades of the MASP windows, as Lina wanted, for the direct contrast between the inside and outside of the museum.

- Roderick Himeros - Sao Paulo SP - Brazil - April 2017