Abstract
The article contextualizes Campo e Contracampo, a canvas by Dora Longo Bahia, seen as a privileged case study for understanding the new private patronage on Avenida Paulista. Presented at the exhibition commemorating the seventy years of the Museum of Art of São Paulo, Campo e Contracampo was characterized by an enigmatic representation of conflict, gradually revealing the clash that occurred in its production phase, when the author was censored for explaining the link between cultural institutions and the financial market. For a comprehensive understanding of the work and this emerging organizational agenda, it was necessary to cross the experience that took place at MASP with the private patronage experiences of other institutions that are lateral to it, such as Itaú Cultural and Instituto Moreira Salles, given that the concentration of cultural activities of the same fraction of patrons have become evident on Avenida Paulista, parallel to the consolidation of the same business management at Itaú Unibanco.
Keywords:
Private patronage; Cultural institutions; Cultural policy; Cultural spaces; Contemporary culture