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Title | Creator | Creation Date |
| 1 |
 |
Monument to the Third International | Vladimir Tatlin | 1920 CE |
| 2 |
 |
Project for the Monument to the Third International | Vladimir Tatlin | 1919 - 1920 CE, recreated in 1968 for exhibition at the Moderna Museet, Stockholm |
| 3 |
 |
Composition | Joaquín Torres-García | 1931 CE |
| 4 |
 |
Column | Naum Gabo | 1922 - 1923 CE, reconstructed in 1937 CE |
| 5 |
 |
Desenho No.2: Equilibrio Restabelecido (Design No.2: Balance Restored) | Lothar Charoux | 1967 CE |
| 6 |
 |
Vermelho e Verde em Formas Contrarias (Red and Green in a Contrary Manner) | Geraldo de Barros | 1952 CE |
| 7 |
 |
Construção No.78 (Construction No.78) | Ivan Serpa | 1955 CE |
| 8 |
 |
Conceito Espacial (Space Concept) | Lucio Fontana | 1965 CE |
| 9 |
 |
Concretion 5629 | Luiz Sacilotto | 1956 CE |
| 10 |
 |
Concretion 5732 | Luiz Sacilotto | 1957 CE |
| 11 |
 |
Composição VI: Distribuição Rítmica Sobre um Sistema Modulado (Composition VI: Rhythmic Distribution of a Modular System) | Willys de Castro | 1953 CE |
| 12 |
 |
Objeto Ritmico No.1 (Rhythmic Object No.1) | Maurício Nogueira Lima | 1953 CE |
| 13 |
 |
Construção No.87 (Construction No.87) | Ivan Serpa | 1955 CE |
| 14 |
 |
Desenho (Design) | Lothar Charoux | 1956 CE |
| 15 |
 |
Invitation for the Exhibition of Atelier Abstração at Museu de Arte Moderna de São Paulo | Norberto Nicola | 1956 CE |
| 16 |
 |
Poster for the International Festival of Brazilian Cinema | Alexandre Wollner; Geraldo de Barros | 1954 CE |
| 17 |
 |
Poster for the First São Paulo Biennial | Antônio Maluf | 1951 CE |
| 18 |
 |
Metaesquema I | Hélio Oiticica | 1958 CE |
| 19 |
 |
Metaesquema 519 | Hélio Oiticica | 1958 CE |
| 20 |
 |
K VII | Lászlo Moholy-Nagy | 1922 CE |
| 21 |
 |
Spatial Composition 4 | Katarzyna Kobro | 1929 CE |
| 22 |
 |
Ball, Plane, and Hole | Barbara Hepworth | 1936 CE |
| 23 |
 |
Oval Hanging Construction No. 12 (view 1) | Alexander Rodchenko | ca. 1920 CE |
| 24 |
 |
Traveler | Liubov Popova | 1915 CE |
| 25 |
 |
Painterly Architectonic | Liubov Popova | 1917 CE |
| 26 |
 |
Dobrolet Poster | Alexander Rodchenko | 1923 CE |
| 27 |
 |
A Negra (The Black) | Tarsila do Amaral | 1923 CE |
| 28 |
 |
Calmaria II (Marinha) [Calm II (Sea)] | Tarsila do Amaral | 1929 CE |
| 29 |
 |
Objecto Rítmico No. 2 (segunda versão), Déc. 70 (Rhythmic Object No. 2 [second version], December 1970) | Maurício Nogueira Lima | 1970 CE |
| 30 |
 |
Composiçāo Ortogonal no. 2 (Orthogonal Composition no. 2) | Anatol Wladyslaw | 1952 CE |
| 31 |
 |
Abstracto Geométrico (Geometric Abstraction) | Lothar Charoux | 1952 CE |
| 32 |
 |
Ruptura Manifesto (English translation with photo of Ruptura group in a Sao Paulo Bar) | | December 1952 CE |
| 33 |
 |
Manifesto Ruptura (Ruptura Manifesto) | Ruptura Group | 1952 CE |
| 34 |
 |
Ruptura Exhibition in the Museum of Modern Art, Sao Paolo | | 1952 CE |
| 35 |
 |
Manto Tupinambá (Tupinambá Cape) | Lygia Pape | 2000 CE |
| 36 |
 |
Decorative Motif Study for the Olivia Guedes Penteado Pavillon of Modern Art | Lasar Segall | c. 1924 CE |
| 37 |
 |
Composição Abstrata (Abstract Composition) | Vicente do Rêgo Monteiro | 1922 CE |
| 38 |
 |
Abstract Geometric Details in Vertical Format for Olivia Guedes Penteado's Modern Pavilion | Lasar Segall | c. 1924 CE |
| 39 |
 |
Retrato de Tarsila (Portrait of Tarsila) | Cícero Dias | 1929 CE |
| 40 |
 |
Composição (Composition) | Georges Valmier | 1921 CE |
| 41 |
 |
Untitled (Geometric Abstract) | Ismael Nery | |
| 42 |
 |
Stained Glass for Mário Cunha Bueno's Residence | John Graz | c. 1930 CE |
| 43 |
 |
Untitled | Cássio M'Boy | c. 1935 CE |
| 44 |
 |
Untitled | Cássio M'Boy | c. 1935 CE |
| 45 |
 |
Manifesto do III Salão de Maio (Manifesto of the Third May Salon) | Flávio de Carvalho | 1939 CE |
| 46 |
 |
Untitled | Arthur Amora | late 1940s CE |
| 47 |
 |
View of Geraldo de Barros work in the Fotoforma Exhibition, in the São Paulo Museum of Art | Geraldo de Barros | 1950 CE |
| 48 |
 |
Composição Geométrica (Geometric Composition) | Antonio Gomide | c. 1922 CE |
| 49 |
 |
Lock for Celso Figueiredo's Residence | John Graz | c. 1930 CE |
| 50 |
 |
Detail of the Ceiling of Olivia Guedes Penteado Modern Pavilion | Lasar Segall | c. 1924 CE |
| 51 |
 |
Panneau (Panel) | Regina Gomide Graz | 1920s CE |
| 52 |
 |
Tapete (Tapestry) | Regina Gomide Graz | 1930s CE |
| 53 |
 |
Tapete (Tapestry) | Regina Gomide Graz | 1930s CE |
| 54 |
 |
Untitled | Antônio Gomide | 1920s CE |
| 55 |
 |
Painel (Panel) | John Graz | c. 1938 CE |
| 56 |
 |
Patio and Garden of Mário Cunha Bueno's Residence | John Graz | c. 1930 CE |
| 57 |
 |
Estrutura Plástica (Plastic Structure) | Waldemar Cordeiro | 1949 CE |
| 58 |
 |
Composição (Composition) | Luís Sacilotto | 1948 CE |
| 59 |
 |
Mural for the Secretary of Finance of Recife | Cícero Dias | 1948 CE |
| 60 |
 |
Mural for the Secretary of Finance of Recife | Cícero Dias | 1948 CE |
| 61 |
 |
Pintura (Painting) | Cícero Dias | 1948 CE |
| 62 |
 |
Léon Dégand in an interview with 'Journal of the Arts' in front of works by Cesar Domela and Jean Arp | | c. 1949 CE |
| 63 |
 |
Espaços (Spaces) | Jacob Ruchti | c. 1939 CE |
| 64 |
 |
Idéia Visível (Visibilty Idea) | Waldemar Cordeiro | 1956 CE |
| 65 |
 |
Untitled | Alexandre Wollner | 1957 CE |
| 66 |
 |
Luís Sacilotti, Waldemar Cordeiro and Geraldo de Barros | | 1953 CE |
| 67 |
 |
Variação de Quadrados (Variation of Squares) | Judith Lauand | 1957 CE |
| 68 |
 |
Concreção 5942 | Luís Sacilotto | 1959 CE |
| 69 |
 |
Concreção 6045 | Luís Sacilotto | 1960 CE |
| 70 |
 |
Virtual XIV | Hermelindo Fiaminghi | 1958 CE |
| 71 |
 |
Virtual XII | Hermelindo Fiaminghi | 1958 CE |
| 72 |
 |
Concreção 5521 | Luís Sacilotto | 1955 CE |
| 73 |
 |
Concreção 5730 | Luís Sacilotto | 1957 CE |
| 74 |
 |
Untitled | Raul Porto | 1960 CE |
| 75 |
 |
Pintura 2 (Painting 2) | Maurício Nogueira Lima | 1961 CE |
| 76 |
 |
Concreto (Concrete) | Geraldo de Barros | 1958 CE |
| 77 |
 |
Untitled | Maurício Nogueira Lima | 1962 CE |
| 78 |
 |
Retícula | Maurício Nogueira Lima | 1960 CE |
| 79 |
 |
Composiçāo Linear (Linear Composition) | Anatol Wladyslaw | 1953 CE |
| 80 |
 |
Composiçāo (Composition) | Anatol Wladyslaw | 1952 CE |
| 81 |
 |
Sem título, déc. 50 (Untitled, December, 1950) | Lothar Charoux | 1950 CE |
| 82 |
 |
Composiçāo 1 (Composition 1) | Maurício Nogueira Lima | 1952 CE |
| 83 |
 |
Sem titulo (Untitled) | Anatol Wladyslaw | 1956 CE |
| 84 |
 |
Sheet from the Portfolio for Walter Gropius (1) | Lászlo Moholy-Nagy | 1924 CE |
| 85 |
 |
Constructivo en blanco y negro con pez (Constructive in white and black with fish) | Joaquín Torres-García | 1931 CE |
| 86 |
 |
Constructivo con varillas superpuestas (Constructive with superimposed bars) | Joaquín Torres-García | 1930 CE |
| 87 |
 |
Estructura en color (Color Structure) | Joaquín Torres-García | 1930 CE |
| 88 |
 |
Constructive Composition | Joaquín Torres-García | 1943 CE |
| 89 |
 |
Physique (Physics) | Joaquín Torres-García | 1929 CE |
| 90 |
 |
Joaquín Torres-García in his inscribed "New York" overalls | Joaquín Torres-García | 1921 CE |
| 91 |
 |
"New York" overalls | Joaquín Torres-García | 1921 CE |
| 92 |
 |
"New York" overalls | Joaquín Torres-García | 1921 CE |
| 93 |
 |
Constructif à l'ancre centrale (Constructive with central anchor) | Joaquín Torres-García | 1932 CE |
| 94 |
 |
Construccíon con triángulo (Construction with triangle) | Joaquín Torres-García | 1929 CE |
| 95 |
 |
Construcción universal (Universal Construction) | Joaquín Torres-García | 1931 CE |
| 96 |
 |
Plano em Superfícies Moduladas No.2 (Plan in Modulated Areas No.2) | Lygia Clark | 1956 CE |
| 97 |
 |
Composition with Temple Pediment | Joaquín Torres-García | 1932 CE |
| 98 |
 |
Universal Structure with Three Arches | Joaquín Torres-García | 1945 CE |
| 99 |
 |
Constructive Composition | Joaquín Torres-García | 1943 CE |
| 100 |
 |
Constructive Composition No. 548 | Joaquín Torres-García | 1932 CE |
