Márcia Falcão's Ioga Psicológica [Psychological Yoga] series (2022–present) begins with a formal question: how might painting address the relationship between the body and space, and transcend traditional anatomical rendering? Falcão answers by pressing the body against the limits of the canvas, as though it might spill beyond the picture plane. Multiplied limbs and entangled figures create a sense of perpetual movement and bodily multiplicity. As the series title suggests, this strain is both physical and psychological. Critic Ela Bittencourt describes yoga here “as a metaphor for the psychological labor of women—for how effort, endurance, and self-discipline shape their sense of embodiment.” Yet this labor is never entirely self-imposed. In Catedral 2 – Posição 20, for example, the Black nude body merges with the arched ceiling of a cathedral, evoking the expectations of Catholicism projected onto Brazilian women. A mother herself, Falcão returns repeatedly to the Madonna—both directly and indirectly—as a figure through which to examine the impossible and often contradictory ideals imposed upon women.