Malfatti had her own solo exhibition, "Exposição de Pintura Moderna" in São Paulo, Brazil from December 12, 1917, to January 11, 1918. Although Malfatti carefully chose her artworks so as not to offend—for example, she omitted her nudes from the exposition—her work was still highly criticized. In New York she had been heralded as another member of the avant-garde artists, but in Brazil her art was not recognized to be a positive contribution in the important search of nationalism and traditions within art. One of the reasons why Malfatti became such a scandal was because her art was displayed as a one-person show. Instead of having many different artists revealing their intentions of bringing Brazilian art into context of globally modernist innovations such as Post-Impressionism or Cubism to Brazil, Malfatti was seen as an individual who caused scandal to the carefully and rather conservatively minded Brazilians whose only desire was to continue the fin-du siecle romantic style. As Batista argues, Malfatti's thought was something similar to, "I'm not the only person who paints in this style unfamiliar to you; out there, this is the new, current art many others are experimenting with." However, despite the fact that Malfatti was an artist riding the global wave of thought and style, in Brazil she was simply viewed as an alien artist with no link to the Brazilian culture. Therefore, Malfatti's internationalism only further estranged her from Brazilian's expectations of art and of her art in particular.