On Wednesday, the 22nd, we had the opportunity to visit the recently opened Centro de Arte Moderna Gulbenkian (CAM) in Lisbon in an exclusive setting. The visit took place in the evening, when the museum was entirely empty, offering a unique and immersive experience. The new CAM, designed by Japanese architect Kengo Kuma, blends organic materials with contemporary design, creating a fluid connection between art, nature, and architecture. For the collectors, who are based in Lisbon, this was a rare chance to explore one of the city’s most exciting new museums alongside the exhibition’s curator, Rita Fabiana.

Guided by Rita, we explored the exhibition of Leonor Antunes, one of Portugal’s most internationally recognized artists. Antunes' work focuses on women’s contributions to art, architecture, and design, often highlighting figures who have been historically overlooked. According to Rita, the exhibition carries a biographical element, not in a personal sense, but in how Antunes draws inspiration from female architects whose contributions were often overshadowed by their male counterparts.

The exhibition is divided into two sections: the Nave Central, where Antunes presents large-scale sculptural installations, and a second space where she has curated works from the Gulbenkian Collection, establishing a dialogue between her practice and past artists. The use of wood, textiles, and metal reflects a strong material sensitivity, and the installation itself extends to the architecture, with elements like a cork-covered floor transforming the gallery space.

One particularly striking moment was seeing the exhibition in low light, as some sculptures incorporate illuminated elements, reinforcing the idea of giving visibility to forgotten women artists. Antunes also included three works that are not part of the museum’s collection, subtly encouraging institutions to expand their representation of female artists.

However, the exhibition requires a certain level of contextual knowledge, and without guidance, some of its nuances may be difficult to grasp. This raises broader questions about accessibility in contemporary art, and how institutions can bridge the gap between conceptual work and public engagement.

The visit provided a thought-provoking perspective on gender and art history, while also allowing for an intimate engagement with the exhibition’s materiality and spatial design.