With its wide remit, Panorama, an annual survey of Brazilian art, is a tricky gig, yet Souza, Germano Dushá and Ariana Nuala curated a cohesive show (this year at MAC USP, in São Paulo) in which notions of identity mixed with ecological thinking, without ever being too literal in the politics. It’s a subtlety that attracted Bonaventure Soh Bejeng Ndikung to tap Souza for his curatorial team for the 2025 Bienal de São Paulo, and that was on display in Some May Work as Symbols at London’s Raven Row, cocurated with Pablo Lafuente, which studied the overlapping of Afro-Brazilian heritage and geometric abstraction in Brazil during the mid-twentieth century. Topography of Memory, a largescale installation by Sallisa Rosa that Souza curated for Audemars Piguet Contemporary during Art Basel Miami travelled to Pinacoteca de São Paulo, and he worked with curator Matheus Morani on For Another Ecology at Solar dos Abacaxis, Rio de Janeiro, featuring the likes of Julien Creuzet and Rose Afefé to address environmental racism. Souza sits on the artistic advisory committee of Angola’s NESR Art Foundation too.