This article investigates the relationship between destination, degree of presentation and safeguarding established in particular cases of sculptural works donated to Brazilian public universities. It is organised from the compilation of elements of the complex network formed by the consignment of axes of knowledge usually studied individually: sculptural artwork, its poetics, materiality and demand for space; the varied relationships established between university and society and the designs of art forms collected by public institutions in recent decades. To this end, the cases studied are: ‘Cones’ by Eduardo Frota, created for the 25th São Paulo International Art Biennial (2002) and later received by the University of São Paulo – São Carlos campus; and the pieces ‘The Firebird’ (1968) and ‘Untitled’ (undated) by Karoly Pichler, exhibited at the São Paulo International Art Biennial, donated to the Maria Luisa and Oscar Americano Institute and later passed on to the Institute of Language Studies at the State University of Campinas (1985).
*** Text in Portuguese (BRA)
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