In order to support research on Afrodiasporic art, post-colonialism and decolonialism, we have organized here a selection of publications that are part of the Lourival Gomes Machado Library (MAC USP). To these volumes, another 56 titles acquired with project financing have now been added and become part of the new Getty Library of African Diasporas in the Americas section.

The Lourival Gomes Machado Library was named in 1969 to honor one of the first professors to offer courses in Art History at USP. However, it has existed since the Museum was founded in 1963, after the acquisition of the book collection by the artist Paulo Rossi Osir. In this initial collection there is little, if any, reference to black art. However, even there it is possible to find examples such as Relíquias da Bahia (1940) and Encantos tradicionais da Bahia (1943), by Edgard de Cerqueira Falcão, in which the desire to protect the traditional heritage of his state led the author to document the church of the Irmandade da Boa Morte, one of the oldest sisterhoods of black women in the country, and the Gruta de Yemanjá in Farol da Barra. The book Brasil (n.d.), by Peter Fuss, also records work scenes here and there, such as in the cigar factory in Maragogipe, or in popular markets. Besides this initial collection, the library received donations from the collections of Aracy Amaral (2021) and Walter Zanini (2013).

Today, the library has expanded beyond this initial collection and has around 9,000 books on visual arts, 32,000 exhibition catalogs and 1,400 folders with documentation on artists. The latter are an important repository of primary sources, allowing, through newspaper clippings, leaflets and other documents, to approach the trajectory of several artists. This set is completed at the moment with the purchase of books carried out by this project, which was based on the publications articulated by the guests of the webinar, but mainly on visits to the library of the artist and researcher Rosana Paulino. The incorporation of this bibliography intends to expand the spectrum of references on Afrodiasporic art and methodology for the construction of new perspectives for these stories. Furthermore, the iconography present in these volumes can allow a renewed look at the MAC USP collection, offering new perspectives for a continued reflection on these images.