In 2016–17, a significant transformation took place in downtown São Paulo, Brazil, when low-wage workers, refugees, and artists occupied the abandoned 17-story Cambridge Hotel. This initiative was part of the “Cambridge Artistic Residency” (CARe) project, which eventually led to the building’s conversion into government-funded social housing and a cultural hub.
The Fowler Museum at UCLA is now revisiting this transformative event with an exhibition titled “Construction, Occupation.” This exhibition explores the intersections of art, activism, and social justice through urban transformation. Opened on May 4 and running until January 11, 2026, it features works from 24 artists and collectives primarily from Brazil. The exhibition encourages visitors to reflect on how urban spaces can be reimagined through collective action.
Curated by Alex Ungprateeb Flynn from UCLA’s Department of World Arts and Cultures/Dance along with independent curators Juliana Caffé and Yudi Rafael from São Paulo, the exhibition includes photography, video, and installations from the original CARe residency as well as newly commissioned works. Flynn explained that “‘Construction, Occupation’ examines art’s potential to shape the spaces in which we live,” presenting a radical urban vocabulary that merges art with activism. He added that by linking São Paulo’s history of occupation-based social change with Los Angeles’ housing crises, new models of resistance are proposed.
The exhibition also highlights other key housing justice movements in São Paulo such as the occupation of Prestes Maia in the 2000s and the ongoing 9 de Julho Occupation. Silvia Forni, Director of the Fowler Museum stated that bringing this exhibition aligns with their commitment to challenging perspectives on global social issues. She emphasized that showcasing art alongside activism highlights community-driven artistic practices’ transformative power.
For more information about “Construction, Occupation” and other exhibitions at the museum, visit the Fowler Museum’s website.
