Esta pesquisa teve como propósito compreender as atuais justificativas censórias sobre as artes visuais no Brasil do século XXI, uma vez que recentemente houve relevante aumento de ataques às manifestações artísticas no País. Considerando como ponto de partida as pinturas Cena do Interior II, de Adriana Varejão, This is not California, de Francisco Hurtz, e a performance La Bête, de Wagner Schwartz, o texto investiga e analisa as repressões censórias às artes a partir dessas obras e sua ressonância com os motivos de censura do passado. Apesar de ser uma garantia constitucional, a liberdade de expressão artística continua sob constante ataque, agora com a forma de uma censura pulverizada e descentralizada, que trafega entre o público e o privado. Essa pesquisa visou a investigar tais formas censórias contra a liberdade de expressão, tão necessária às artes e à sociedade

The research aimed to understand the current censorship justifications over the visual arts in Brazil in the 21st century, since there has recently been a significant increase in attacks on Brazilian artistic manifestations. Taking as a starting point the paintings Cena do Interior II by Adriana Varejão, This is not California by Francisco Hurtz, and the performance La Bête by Wagner Schwartz, the text investigates and analyzes the censorship repressions of the arts from these works and their resonance with the reasons for censorship of the past. Despite being guaranteed by law in Brazil, freedom of artistic expression remains under constant attack, now in the form of a pulverized and decentralized censorship, which travels between the public and private sectors. This research aimed to investigate such censorship forms against freedom of expression, so necessary to the arts and society