This dissertation proposes to observe and discuss the work The Temple of Oxalá, created by the plastic artist, borned in Bahia, Rubem Valentim (1922- 1991) and exposed for the first time to the public in 1977, at the XIV International Biennial of São Paulo, in the segment entitled The wall as support for works. Since, this work no longer responds to the specifics of art media, such as painting and sculpture as pure practices that justify the object s autonomy as a work of art, I seek to understand the aesthetic implications that make possible a post-modern reading of the work in proximity to the Installation s concept. However, Valentim had an existence endowed with an artistic sense, he started producing in the 40 s and only stopped in 90 at the time of his death. His works carry influences both from the European constructive avant-garde that penetrated Brazil and unfolded in the Concrete and Neoconcrete art movements, as well as cultural elements of the Yoruba-speaking African peoples, experienced within Afro-Brazilian religions. In this way, not only the work The Temple of Oxalá, but the paintings, reliefs and sculptures created by Rubem Valentim, rich in Afro-religious symbols transformed into a visual signographic poetic language, strengthened ties between aesthetics and anthropology. The presence of cultural elements from the African peoples (the rite and the symbolism) opened the way to reflect on the concept of Afro-Brazilian art in contemporary times, together with the idea of Transculturality that has been discussed as: unification, combination and relation of modern cultural experiences, of black people in the West. The Temple of Oxalá as an event of Brazilian art inserted in new contemporary languages, corroborates, above all, with the political position assumed by the artist, through his Manifesto Although Late (1976).