While last year’s Venice Biennale encountered criticism, Pedrosa reckons the artists he included will bear the fruits of his patronage. ‘Sometimes it takes years until you truly understand what will happen, and how the artists will be recognised,’ he told Piauí. If they need even more help, it’s at hand: under Pedrosa’s guidance, the monied patrons of the Museu de Arte de São Paulo, where he is director, bought 29 of the works shown in Italy for the Brazilian institution. Combining contemporary art with the historical – as well as work previously dismissed as ‘outsider’ – has become Pedrosa’s formula, as has dedicating the entire programme of the museum (now expanded to an additional 14-storey building next door on Avenida Paulista, doubling the footprint) to an annually-changing theme. In 2025 this was Histories of Ecology, the typically sprawling group show complemented with a revisionist look at Claude Monet, as well as shows, across generations, for Frans Krajcberg and Hulda Guzmán.