Lenora de Barros (São Paulo, SP, 1953) is a Brazilian visual artist and poet known for her work that blends visual art, concrete poetry, photography, and performance. She graduated in Linguistics from the University of São Paulo (FFLCH/USP) in the late 1970s, and her career has been marked by experimentation and the intersection of various artistic languages.

At the 17th São Paulo International Biennial, Lenora first showcased her visual poems using videotext, a pioneering approach that merged poetry with new media. That same year, she published her book "Onde Se Vê" through Klaxon publishing house, solidifying her poetic voice in the Brazilian art scene.

Between 1990 and 1991, Lenora lived in Milan, where she held her solo exhibition "Poesia É Coisa de Nada" at the Mercato del Sale Gallery, showcasing works created between 1985 and 1990. In Milan, she also curated the exhibition "Poesia Concreta in Brasile" at the Archivo della Grazia di Nuova Scrittura, bridging the gap between Brazilian concrete poetry and European audiences.

Upon returning to Brazil, she collaborated with the newspaper Jornal da Tarde, writing the column "Umas" (1993-1995), which explored poetic and photoperformative experiments. During this period, she also worked as a photo editor at Folha de S.Paulo and as an art director for the magazine Placar, expanding her creative reach into editorial work.

In 1998, Lenora participated in the 24th São Paulo International Biennial with the installation "A Contribuição Multimilionária de Todos os Erros," alongside Arnaldo Antunes and Walter Silveira, highlighting her interest in collaborative works. In 2000, she received the Multicultural Award from O Estado de S. Paulo newspaper in recognition of her contributions to Brazilian culture.

In 2001, Lenora teamed up with musician Cid Campos to create the sound installation "(Des)Encorpa" for the exhibition "The Overexcited Body" at Palazzo Arengario in Milan. That same year, she held her first solo exhibition in Brazil, "O que que Há de Novo, de Novo, Pussyquete?" at Galeria Millan in São Paulo. In 2002, she was awarded a grant by the Vitae Foundation to develop the artist book project "Para Ver em Voz Alta." Her sound installation "Deve Haver Nada a Ver" also won an award at the 1st RioArte Exhibition at the Museum of Modern Art in Rio de Janeiro (MAM/RJ), cementing her status as one of the leading artists of her generation.