In 2022, the CAM building remained closed for renovation. However, many of its works were shown in a range of national and international exhibitions, maintaining a living link to the Collection, which is currently being held in reserve.  

In February, four works appeared in major international exhibitions: the painting Renaissance Head, by David Hockney, was exhibited in Vienna, while three works by Sonia Delaunay were shown at the Louisiana Museum of Modern Art, in Copenhagen. The following month, the exhibition Interferências opened at the MAAT, with the presence of the film Revolução, by Ana Hatherly. 

Also in March, the travelling exhibition All I want. Portuguese women artists from 1900 to 2020, which was on display in the Gulbenkian Foundation from 2 June to 23 August 2021, travelled to the Centre de Création Contemporaine Olivier Debré, with more than 50 works from the CAM. 

In April, the Centro de Artes de Sines welcomed more than 30 works from the Collection: the exhibition Risco-a-Risco included pieces by artists such as Ana Hatherly, José Pedro Croft, Fernanda Fragateiro and Maluda, to name but a few. In the same month, the Ateliê-Museu Júlio Pomar exhibited two paintings by the artist belonging to the CAM Collection. 

The video Sombra, by Julião Sarmento, travelled to the Museu Coleção Berardo in May, the same month as Modernités Portugaises opened in Yerres, a significant exhibition for the promotion of Portuguese modern art in France, featuring names such as Amadeo de Souza-Cardoso, Almada Negreiros, Mário Cesariny, António Dacosta, Arpad Szenes, Vieira da Silva and Ofélia Marques. 

June brought with it the exhibition Graça Morais: Mapas da Terra e do Tempo at the Museu do Côa, which presented one of the artist’s works from the CAM, and the exhibition Maria Helena Vieira da Silva: L’oeil du labyrinthe, for which the CAM loaned 11 paintings by this Portuguese artist who became a French citizen.  

In July, the Museu de Serralves opened to the public a major exhibition devoted to Rui Chafes, for which the CAM loaned the iron and green light sculpture Burning in A Forbidden Sea, along with the sound installation by Orla Barry, Filling Egg Shells. The following month, the FUSO Festival received six films from the Collection for a screening curated by the director of the CAM, Benjamin Weil, and curator Leonor Nazaré. 

In September, the painting Modelo, by Maria Antónia Siza was loaned for an exhibition devoted to the artist in the Serralves Library; in the same month, the collective work Bandeira Nacional by Grupo Puzzle, travelled to the Centro de Arte Contemporânea Graça Morais and the work Sombra, by Lourdes Castro, was displayed at Contextile 2022, in Guimarães. 

October was a very significant month for the Collection: six works by Jorge Vieira were presented in the Gulbenkian Foundation’s Art Library; the collective painting Cadavre Exquis formed part of an exhibition in MUCEM, in Marseille, which explored how different authors have collaborated with artists to produce artworks; two paintings by Paula Rego were shown at the first solo exhibition of the artist’s work in Germany, and the work O Ninho, by the same artist, was loaned for an exhibition at Casa das Histórias Paula Rego, in Cascais.  

In November, a painting by António Carneiro was shown at the Museu Nacional Soares dos Reis, in Porto, and three works by Lourdes Castro flew to her native island, Madeira. At the end of the month, a drawing from the Collection by Jardim Portela was included in the Superstar Pharaohs exhibition, in the Main Gallery of the Foundation. This exhibition was organised by the Calouste Gulbenkian Museum, in partnership with MUCEM. 

The year drew to a close with a longer journey: two works by Paula Rego were loaned to the Pera Museum, in Istanbul, for an important solo exhibition of the artist’s work, which opened on 20 December 2022.