Lidia Lisbôa’s practice is carried out in different mediums, mainly sculpture, crochet, performances, and drawings. The weaving of biographies is at the core of her research, covering the axis of landscape, the body, and memory by using materials on which the artist’s hand and gesture are imprinted. The result of a constant artistic practice that merges with life, in Lisbôa’s work, sewing and the crafting of narratives stand as exercises in subjective construction and, thus, in healing and re-signification.

Her most recent solo shows include: Têta, Museu de Arte do Rio – MAR, Rio de Janeiro, Brazil (2024); “O Teatro”, Millan, São Paulo, Brazil (2024); Ofício: Fio: Lidia Lisbôa: Mulher Esqueleto, Sesc Pompéia, São Paulo, Brazil (2023), Acordelados, Millan, São Paulo, Brazil (2022), and Memórias do afeto, Centro Cultural Santo Amaro, São Paulo, Brazil (2021).

Lisbôa has also been part of group shows such as the 36th Bienal de São Paulo Not All Travellers Walk Roads – Of Humanity as Practice (2025); The Power of my Hands, Sesc Pompeia, São Paulo (2025); and The Fabric of Being, Almeida & Dale, São Paulo (2025); Arte na moda: MASP Renner, MASP, São Paulo, Brazil (2024); Dos Brasis – Arte e Pensamento Negro, Sesc Belenzinho, São Paulo, Brazil (2023); 37th Panorama da arte brasileira, MAM São Paulo, Brazil (2022); 13th Bienal do Mercosul, Porto Alegre, Brazil (2022); Um século de agora, Itaú Cultural, São Paulo, Brazil (2022); Arte Atual: Por muito tempo acreditei ter sonhado que era livre, Instituto Tomie Ohtake, São Paulo, Brazil (2022); Enciclopédia negra, Pinacoteca, São Paulo, Brazil (2021).

Lisbôa’s work is featured in institutional collections such as Institute for Studies on Latin American Art, USA; El Museo Del Barrio, USA; Museu de Arte do Rio Grande do Sul, Brazil; Sesc São Paulo, Brazil; Princeton University Art Museum, USA; and Pinacoteca de São Paulo, Brazil.