Mangue was a neighborhood in Rio de Janeiro that emerged in the 19th century and was famous for its brothels and bars, remaining active until the mid-1970s. Segall dedicated an album to the neighborhood, which included three woodcuts, one lithograph, and 44 copies of drawings, accompanied by texts by Mário de Andrade and Jorge de Lima. The album had a print run of 135 copies. The three pieces in the AMA collection are the woodcuts in this album. In these, Segall presents three different scenes of the interiors of brothels, based on sketches that the artist made in the neighborhood between 1921 and 1943. The first scene is one that most highlights a very particular characteristic of Mangue: the coexistence of sex workers of Afro-Brazilian and European origin—Polish, for the most part. The sex worker was a character present in Segall’s work from his ties to the German expressionist movement. In the case of the Mangue album, this theme took on a special meaning in his work as it referred to an iconic place within Brazilian identity, particularly for its racial and cultural mix. In this sense, it can be said that this work is a process of reflection by the artist on his status as a Jewish immigrant in Brazil. Mangue was of interest to other Brazilian artists, such as Di Cavalcanti, who focused more on the festive and euphoric nature of the area. Segall’s album, on the other hand, observes life in the neighborhood from a certain distance and as a social issue not exempt from sadness and drama. Lasar Segall, born in Vilnius, was a Jewish Lithuanian artist who was naturalized as a Brazilian citizen in 1927. He began studying art at an early age in his hometown and later went to Berlin, where he attended the Academy of Fine Arts between 1906 and 1910. From then until 1924, when he moved to Brazil, Segall lived in several European cities where he suffered the struggles of World War I. He traveled to Brazil for the first time in 1921, where he spent a short time visiting his siblings. In 1914 he joined the German expressionist movement and became one of its most prominent figures. He formed part of the Dresden Secession Group in 1919, along with Otto Dix, Conrado Felixmüller, and other artists. On his second trip to São Paulo in 1924, Segall was welcomed by the Brazilian modernist movement and, in line with his reflections and research, began to address themes of Brazilian cultural identity such as the landscape and Afro-Braziian subjects. He reached artistic maturity while living between Brazil and Europe and simultaneously participated in exhibitions and projects on both sides of the Atlantic. This made Segall a singular figure within the Brazilian modernist movement and in the European avant-garde. From the late thirties, Segall mainly lived in São Paulo, where he died in 1957. His works were included in the Degenerate Art Exhibition organized by the Nazi government in Munich in 1938 to condemn European vanguard art. In the fifties, he participated in every edition of the São Paulo Art Biennale and represented Brazil at the XXIX Venice Biennale. In 1967 the Lasar Segall Museum opened its doors at his old residence in Vila Mariana. The collection includes the artist’s works, documents, and personal correspondence.