Living and working between Rio de Janeiro and New York, Muniz has forged a distinctive path in contemporary art by transforming the ephemeral into enduring visual statements.

He began his artistic career as a sculptor but soon shifted his focus to drawing and photography. Exploring postmodern strategies—like many of his contemporaries, including Cindy Sherman and Jeff Koons—Muniz engages with familiar cultural imagery, recontextualizing it to emphasize the primacy of concept over form. His work reflects a central tenet of contemporary art: that concept often transcends medium.

Muniz is celebrated for using everyday materials—sugar, chocolate syrup, wire, caviar, toys, dirt, dust, garbage, even magazine clippings—to recreate iconic images from art history. These large-scale, temporary compositions are meticulously assembled and then captured in high-resolution photographs, preserving their intricate detail while simultaneously transforming them into new, standalone works. Through this process, Muniz reinvents the masterpieces of Van Gogh, Picasso, Malevich, Klimt, Mondrian, Matisse, and others with wit and technical virtuosity.

Beyond their visual impact, his works explore the notion of appropriation, the reproducibility of images, and the fluid relationship between medium and message. “I see myself as an observer of the skirmish between structuralist and poststructuralist criticism,” Muniz once remarked, underscoring his intellectual engagement with contemporary theory.

Muniz’s work is grounded in the belief that art should be both socially conscious and widely accessible. Rejecting elitism, he aims to bridge the gap between high art and popular culture, drawing in audiences of all ages and backgrounds. His visual puns, clever material choices, and accessible references spark curiosity while encouraging deeper reflection on social and environmental issues.

In 2006, Muniz began work on one of his most acclaimed projects: the Pictures of Garbage series. Reimagining classical paintings through large-scale images made entirely from waste collected at Jardim Gramacho—the vast landfill on the outskirts of Rio de Janeiro—Muniz collaborated with local garbage pickers, who not only sourced materials but also took part in constructing the compositions. These monumental works were assembled in a custom-built studio hangar and photographed from the height of a mobile crane. The resulting images functioned as both striking works of art and poignant social metaphors, addressing themes of labor, marginalization, and environmental degradation.