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HYLAND end. They represent a rebirth full of hope, crossed by the smile that shines in the eyes of those who are aware that discoveries and enchantments are still possible, that creative variations are infinite and feasible. Brazilian Baroque opens up a new creative period: the decoration is not ornate, not a superficial patina, but the essence of the project that rediscovers the meaning of exuberance without resorting to the ploys of revival. They come from far away, but they have fully grasped the sentiment of Roman Baroque, returning it to us in a a flourishing contemporary version." If Concepts was a playful ode to notions of deconstruction and bricolage, Brazilian Baroque is, quite simply, an elated essay in plenitude. Curated by Emanuela Nobile Mino and exhibited in exquisite surroundings--at the Cortona Gallery in the Palazzo Pamphili, influenced by Borromini,designed by Rainaldi, built between 1644 and 1650, the Gallery decorated with frescoes by Pietro da Cortona--sinuous alligators of gilded bronze wind around the legs and seats of furniture upholstered in pristine white eco-fur. The Anthropophagic Sofa—literally a man- eater-- is the queen of this collection, its long expanse of fur with asymmetrical curved back fit for a diva. The Ouro Preto floor lamp, with its magnificently encrusted gilt bronze shade stands on a pillar of gilt bronze set upon a base Carrara statuary marble. More marble abounds: the Basoli table is of black-veined white Carrara marble carved in a biomorphic undulating form with slender gilded brass legs.