In Gerda's plastic imagination, animals and machines played a central role. For decades, she participated with zoologist and musician Paulo Vanzolini, in an unusual partnership, a true dialogue between science and imagination. A scientist (who is also a musician) and an artist working together, without one specialty being reduced to the other. The result is scientifically impertinent art. Here we can see the particular figuration of a certain 1960s utopia, which would be cut off by the military dictatorship. Gerda and Vanzolini do not abandon the theme, but the artist will unfold it into machinery and a bestiary that denounce the conservatism of the dictatorship and technocratic reason.