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Mario Pedrosa contributed in a decisive way to the formation and development of Brazilian politics and art in the 20 th century. Pedrosa traveled to the United States and started to live in New York at the end of 1938. In the field of the arts, he took a position on the debate between Independent Revolutionary Art and Instrumentalized Art. In the essay “Portinari – from Brodosqui to the murals in Washington” (1942), Pedrosa overcomes the defense of art as a revolutionary weapon, which was his position at the conference on the German artist Kathe Kollwitz, presented at the Club of Modern Artists, in Brazil in 1933. From 1942, he approached the position of independence of art, in relation to the government's instrumentation policies. Article received: December 16, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Review article How to cite the article:  Mari, Marcelo. "Mario Pedrosa’s Turn Point: From the Good Neighbour Policy in the United States to the Brazilian Modern Project (1938–1951)."  AM Journal of Art and Media Studies 21 (2020): 87-99. doi: 10.25038/am.v0i21.359

Mário Pedrosa’s Turn Point: From the Good Neighbour Policy in the United States to the Brazilian Modern Project (1938–1951)