In September, 1990, he holds two more one-man shows – at the Ipanema Gallery (RJ) and at the Paço Imperial (RJ).

 

In April, 1991, he holds an exhibition of paintings on raw canvas at the Gabinete de Arte Raquel Arnaud. In September, at the Grande Teatro do Palácio das Artes (BH), he presents an individual exhibition of monotypes made in Rio Acima and reworked in the studio.

In 1992, the solo exhibition Carlos Vergara, Obras Recentes 1989-1991 [Recent works] opens at the Calouste Gulbenkian Foundation’s Centro de Arte Moderna in Lisbon. In the Morumbi Chapel (SP) he mounts an installation with four monotypes on polyester paper soaked in adhesive resin, fastened directly to the ceiling, considered by the artist to be “paintings away from the wall”. The work is remounted at Centro Cultural Banco do Brasil (RJ) in 1993. Later that same year, in Antwerp, he holds an individual exhibition at the Francis van Hoof Gallery.

The following year, he holds a one-man show at the Gabinete de Arte Raquel Arnaud and takes part in the Twentieth Century Brazil Biennial at the Biennial Foundation in São Paulo. Later in 1994, he is invited by the Goethe Institute as part of a group of Brazilian and German artists who retrace part of the journey of the Langsdorff Expedition. In 1995, the result of this experience is presented in an exhibition titled O Brasil de Hoje Espelho do Século 19 – Artistas Alemães e Brasileiros Refazem a Expedição Langsdorff [The 19th Century as Mirrored in Contemporary Brazil – German and Brazilian Artists Revisit the Langsdorff Expedition], at Casa França-Brasil (RJ) and at the Museu de Arte de São Paulo/Masp. Later that year, he holds solo exhibitions at the Galerie Debret (in Paris) and at the Paulo Fernandes Gallery (in Rio) and creates murals for the Morumbi Office Tower (SP).

Between 1996 and 1997, he creates the Monotypes of the Pantanal series, exhibited at the Museu de Arte Moderna de São Paulo, and same year, he presents a solo exhibition of engravings at the Castro Maya Foundation (RJ). He takes part in the Mercosul Biennial (POA). Invited by Nelson Brissac Peixoto, he participates in the third edition of the Arte/Cidade project (The City and its Tales) amid the ruins of São Paulo’s Matarazzo Factory. On this occasion, Vergara creates Farmácia Baldia [Vacant Pharmacy] with the assistance of botanists from the Universidade de São Paulo/USP and landscape architect Oscar Bressane. In 1998, the Brazilian Association of Art Critics awards him the Mário Pedrosa Prize for his exhibition Monotipias do Pantanal: Pinturas Recentes [Pantanal Monotypes: Recent Paintings] at MAM-SP. In September, his installation Limonita: Minério Encharcado [Limonite: Drenched Mineral] is included in the Poéticas da Cor [Poetics of Color] exhibition at Centro Cultural Light (RJ) and he holds a solo exhibition called Os Viajantes [The Travelers] at the Paço Imperial.

 

In November, 1999, the Pinacoteca do Estado de São Paulo organizes the Carlos Vergara 89/99 retrospective.

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