In a 1993 text that analyzes Carmella Gross’s work, one of Brazil's most exacting and most direct critics, Aracy Amaral, claims that “the artist stands behind their trajectory”. If this reasoning is generally valid for any artist, it is undoubtedly true for someone like Gross. This should be emphasized all the more today, almost twenty-five years after the emergence of everything (she produced, learned, and created during all those years) into the light of the world.
