No Martins, who was born in São Paulo, where he lives and works, also comes from the universe of street art and graffiti. Figuration has a central role in the poetics of his work. The artist creates numerous portraits of black women and men in various different scales. A painter, printer, and draughtsman, Martins also creates sculptures, performances, objects, and installations in which he addresses issues affecting the life of women and men coming from the Afro-Atlantic diaspora through narratives with high poetical and political tension. The installation Danger and the paintings in the series Encontros Políticos [Political Encounters], present at Panorama, are representative of the artist’s activism, an activism that never negatively influences the quality of the work. This rigor is, possibly, a result of the choices he made for his education. Even though he did not effectively participate in the universe of the academia, he sought, at the beginning of his artistic training, support from artists such as Rosana Paulino and Kika Levy. It is interesting, in this sense, to have a perspective about the important role that public institutions for art education and for the diffusion of art (such as cultural and community centers) have on the education of artists coming from the lower classes who are among the most promising ones on today’s current scene.