Born in the city of Santa Maria in Rio Grande do Sul in 1941, Carlos Vergara began his career in the 1960s, when the resistance to the military dictatorship was incorporated into the work of young artists. In 1965, he participated in the show “Opinião 65,” at the Museu de Arte Moderna, Rio de Janeiro, an historical landmark in the history of Brazilian art by evidencing this critical posture of the new artists in the face of the social and political reality of the time. As of that exhibition, the New Brazilian Figuration movement was formed, of which Vergara was a part along with other artists, such as Antônio Dias, Rubens Gerchman and Roberto Magalhães, who produced art with strong political content. In the 1970s, his work underwent major change and began to conquer its own space in the history of Brazilian art, mainly through photographs and installations. Since the 1980s, his paintings and monotypes have been the nub of his journey, in which experimentation has been his trademark. New techniques, materials and thoughts have resulted in contemporary works, characterized by innovation — but without losing the identity and the certainty that the field of painting can be expanded. In his career, Vergara was involved in more than 180 solo and group shows.