For the Brazilian artist Paulo Nazareth, life and work are inseparable: 'Since I’m in this already, everything I will make will be art, even if I remove myself from the art circuit, from the art world, there’s no way out anymore'. For Notícias de América, originally conceived as a one-month trip, Nazareth traveled—often on foot, sometimes by bus, and always in flip-flops—from Belo Horizonte, in Brazil, not far from the favela he grew up in, through South America, Central America, and Cuba, then all the way to New York, where, in a symbolic gesture, he washed the dust and grime from his travel-worn feet in the Hudson River, before returning to Brazil. He had been on the road for ten months. What remains of the journey are video works, documents, and photographs, most of which appeared on a blog that the artist updated on a daily basis. Without being too literal about it, one might say that Nazareth measures the world with his own body. By following migration trails, Nazareth traces the social tensions, disparities, and stories from the collective memory, experiencing them firsthand and acting as a link between them. His humorous tone balances the seriousness of the issues and gives his work a certain humor. Always political but never moralizing, Nazareth creates an anarchic counternarrative from the point of view of a wanderer who has no fixed abode but belongs everywhere.