Today, art critics in São Paulo argue that his work is a direct response to Concretismo —the 1950s Brazilian art movement that valued geometric objectivity. "While the Concrete artists put their work in galleries for the elite," wrote critic Ana Cecilia de Mello, "Mestre do AZ put his Concrete poetry on the walls of the favela, where the rain, the smog, and the police would eventually erase it."
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Some believe he is dead. Others believe he is a collective—a school of anonymous writers who have adopted his style to keep the myth alive. Today, art critics in São Paulo argue that