From fleshy, distorted paintings, capturing the malaise of the 1960s, to colourful abstractions made in exile, the artist was an example to live by
Instituto Tomie Ohtake and Galeria Nara Roesler, São Paulo
On the eve of his solo exhibition at Centre Pompidou, Paulo Bruscky talks about mail art, fluxus and outwitting the Brazilian military dictatorship
How Eduardo Navarro's works retrain the senses
