Zero Dollar
each: signed ‘Cildo Meireles’ (centre left)
ink on printed paper, in two parts
each: 258 x 618in. (6.7 x 15.8cm.)

Executed in 1978-1984, this work is from an unnumbered edition
Acquired directly from the artist by the present owner.
Revista Galeria, vol. 24, 1991 (another from the edition illustrated, p. 64).
Poliester, vol. 8, 1994 (another from the edition illustrated, p. 64).
Cildo Meireles, exh. cat., Valencia, IVAM Centre del Carme, 1995 (another from the edition illustrated, p. 96).
Continuum: Brazilian Art 1960s-1990s, exh. cat., Colchester, University of Essex, University Gallery, 1995 (another from the edition illustrated in colour, p. 31).
P. Herkenhoff, Cildo Meireles, London 1999 (another from the edition illustrated, p. 45).
Cildo Meireles, exh. cat., Strasbourg, Musee d'Art Moderne et contemporain de Strasbourg, 2003 (another from the edition illustrated, p. 84).
Sydney, 5th Biennale of Sydney, Private Symbol: Social Metaphor, 1984 (another from the edition exhibited).
Recife, Museu de Arte Moderna Aloísio Magalhães, Cildo Meireles, Geografia do Brasil, 2001-2002 (another from the edition exhibited, illustrated in colour, p. 55).
Tokyo, Museum of Contemporary Art Tokyo, When Lives Become Form-Contemporary Brazilian Art: 1960-Present, 2009 (another from the edition exhibited).
London, Tate Modern, Cildo Meireles, 2009-2010, p. 183 (another from the edition exhibited, illustrated in colour, p. 81). This exhibition later travelled to Barcelona, Museu d’Art Contemporani de Barcelona; Houston, The Museum of Fine Arts; Los Angeles, Los Angeles County Museum of Art and Ontario, Art Gallery of Ontario.
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Lot Essay

'The idea [referring to Zero Dollar] was to produce an object and then try to put this object into circulation which causes the object to provoke a kind of shift in anthropological behaviour' C. Meireles.

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