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At the 5th Bienal de São Paulo, aside from the competition and invitation for modern calligraphy and painting, NMH also requested replication of 57 Chinese antiquities. The reasoning for the copies, even though they did not necessarily align with the Bienal’s theme of “modern art,” was the duel between KMT and CCP for representation, in countering the CCP’s intention in applying for participation under the title “Four Thousand Years of Chinese Art.” In exhibiting a large number of antiquities and paintings, other than excluding CCP from participation, this decision proved incapable in having substantial, extensive dialogue with Brazilian contemporary art.

Lin Sheng-yang, a Taiwan modern painter in Brazil, pointed out that the artists participating in the competition were limited by “small images, few works, and general disarray,” failing to counter countries like United Kingdom which only selected 60 works from 3 artists, but could focus the attention of jurors and create huge momentum in the exhibition and receive awards. Furthermore, NMH only called for works domestically but failed to send personnel to Brazil to participate in exhibition planning, likely also causing certain hindrances.

That same year, the ambassador Lee Chun-Ti pointed out in a letter to NMH Director Bao Zun-Peng: “The Brazilian art scene is completely taken by New Extremism…Realism is not valued,” and persistently asked for submissions in the style of “New Extremism” in his telegrams and letters. Director Bao would oblige, announcing in the call out for the 5th Bienal de São Paulo: Participating works must be in the style of “New Extremism.”

Taiwan won Honorable Mention a second time with Chin Sung’s print Sun Festival.