"Viewed in retrospect, Caetano de Almeida's production has been a persistent project of deconstructing ready-made responses, that is, the ready-made idea of painting"[Paulo Herkenhoff, O Delicioso Jardim do Vizinho]. Caetano de Almeida's last compositions are optically charged, chromatic and frequently characterized by patterns made of circular cutouts and holes. The works' overall geometric structure hints at the rich history of brazilian geometric and Neo-concrete art. However, it is de Almeida's intuitive use of colour that provides a unique sense of dynamism all his own.
Recent solo exhibitions include: Van Doren Waxter, New York (2020); Galeria Luisa Strina (2019); Galerie Andres Thalmann, Zurich (2017), 11R Gallery, New York (2017); Galeria Luisa Strina (2016); Galeria Mata, Instituto Inhotim, Brumadinho (2016); ‘Coffret’, Instituto Figueiredo Ferraz, Ribeirão Preto (2015); Galerie Anne Villepoix, Paris (2015).
Recent group shows include: Da Tradição à Experimentação, Fundação Iberê Camargo, Porto Alegre (2019); Horizontes – A Paisagem nas coleções MAM, Museu de Arte Moderna, Rio de Janeiro (2018); Modos de Ver o Brasil: Itaú Cultural 30 anos, OCA Ibirapuera, São Paulo (2017); A Cor do Brasil: de Visconti a Volpi, de Sued a Milhazes, Museu de Arte do Rio, Rio de Janeiro (2016); Histórias Mestiças, Instituto Tomie Ohtake, São Paulo (2014); 0 to 60: The Experience of Time through Contemporary Art, North Carolina Museum of Art, Raleigh (2013).
His work is part of collections such as: Museum of Fine Arts, Boston; Museu de Arte Moderna de São Paulo; Museu de Arte Moderna do Rio de Janeiro; Museu de Arte Contemporânea da Universidade de São Paulo; Coleção Gilberto Chateaubriand; Coleção Marcantônio Vilaça; Coleção João Carlos Fiqueiredo Ferraz; North Carolina Museum of Art, Raleigh; Acervo Banco Itaú; Associação dos Amigos da Pinacoteca do Estado; Centro de Arte Contemporânea Inhotim; Instituto Tomie Ohtake; Peter Stuyvesant Foundation; Rehabilitation Institute of Chicago; and New York Presbyterian Hospital.