Sérgio Rabinovitz was born in Salvador, Bahia on December 17, 1955.

Painter, draughtsman and printmaker, he studied in the studios of Calasans Neto and Mario Cravo Jr., concluding his academic education in the United States as a scholarship student at Wesleyan University, Connecticut and The Cooper Union for the Advancement of Science and Art, New York City.

During the beginning of the 70´s, still in Bahia, he initiated his practice of woodcutting, evolving into etching, drawing, lithography, photography and painting while studying in the United States with great masters like Hans Haacke, Marcicano and Krishna Reddy. He graduated from The Cooper Union For the Advancement of Science and Art in 1978 with a Bachelor of Fine Arts degree.
His path of professional activity, from woodcut to painting, and the registry of this journey in images and texts that document the development of the language, techniques and themes that the artist works with in his art, follows a continuous line of action, from the first prints, whether woodcuts, etchings or lithos, passing on through drawing, to explode in painting, whether on paper or canvas, painting that brings as its mark the expression of life for the development of a visual story of the cities he´s visited and the people he´s met, while living periods exhibiting in different countries, making his art travel the world in exhibitions and become part of collections in museums, public institutions and privately in Brazil and abroad.

In 1975 he had his first individual exhibition initiating a sequence of exhibits in museums and galleries in Brazil and abroad, exhibitions that register one of the most distinctive careers of his generation in graphic work, drawing and painting. An important exhibit of his work in painting, organized by the Museum of Modern Art of Bahia-MAM-BA, traveled around the country in 1997, ending its run of exhibitions in the Museum of Modern Art of Rio de Janeiro-MAM Rio. The solo show of 1975 set off a sequence of individual exhibits in Brazil and abroad, for example: MAM-BA (1976/1979/1996); Houghton Gallery (NY,USA,1978); MASP (São Paulo,1980); State Art Museum of Bahia-MAB(1980); Paulo Figueiredo Art Gallery (São Paulo,1981/1986); Ada Art Gallery (Salvador,Bahia,1991); Metropolitan Museum of Art of Curitiba (Paraná,1996); MAM-Rio (RJ,1997); Paulo Darzé Art Gallery (Bahia,1998,2003); Contemporary Art Museum of Paraná (Curitiba,PR,2000); Centro Cultural Correios (Bahia,2004); B&L Art Gallery (Bahia,2006); Por Amor à Arte Gallery (Porto,Portugal,2007); BCA-Brazilian Contemporary Arts (London,UK,2007); Caixa Cultural/Ba (Bahia,2011); Illini Union Gallery (Champaign,Il,USA,2012); W&S Brazilian Art Consultants (Chicago,Il,USA,2012) ; University of the San Francisco Valley (Petrolina, Bahia,2015).

His work is also widely-known as an illustrator, with very popular images that span over covers for the Bahia State Constitution of 1989 published by the State Legislative Assembly, for one of the editions of Jorge Amado´s book Mar Morto and for Fetiche by Antonio Risério; illustrations for Olho de Gato, Notas Bandalhas and Fluxo by Claudius Portugal; Bonequinhos de Papel by Mabel Velloso, to books of his work like Bahia – 20 Post Cards (P55 Edição, 2003) or Registers in Passing (Assembleia Legislativa do Estado da Bahia, 2016), both with text by Claudius Portugal. A film was made of his work, a short subject entitled “The Bahia of Sérgio Rabinovitz” by Luciana Accioly Lima.

Among his awards: Study and Travel Grant from the Fulbright Commission/IIE (1974); Scholarship from the Cooper Union For the Advancement of Science and Art (1975); Secretary of Education Award in III Exhibit of Brazilian Drawing of Curitiba (1981); Official representative of Brazil in the VII International Biennial of Valparaíso, Chile (1985); First prize in painting at the I Bahian Salon of Fine Arts (1988); Commendation as Knight in the Order of Merit of the State of Bahia (1990); Vinólia Special Edition Award (1997).

We can highlight his participation in many exhibitions of international repercussion such as International Graphics 77 (New York,1977); Calligraphy and Writ (Funarte,RJ,1985); Contemporary Brazilian Lithographs (Washington, D.C.1986); Panorama of Brazilian Art (Museum of Modern Art of São Paulo-MASP,1984,1986); BR-80: The Noteworthy in Brazilian Painting in the 80´s (Itaú Cultural Institute, São Paulo,1991); Contemporary Brazilian Art (Neuhoff Gallery, New York, USA,1996); Bahia to Paris (Modus Gallery, Paris, France,1998); Seis de fora (Por Amor à Arte Gallery,Porto,Portugal,2006); BerlinBahia (Alte Schule Adlershof Gallery, Berlin, Germany, 2018) and (Museum of Modern Art of Bahia, Salvador, Bahia, 2019).

His work can be seen in the site www.sergiorabinovitz.com and is represented in public and private collections: Davison Art Center (Connecticut,USA); Window South Collection (California, USA); Peter Cooper Foundation (New York, USA); Museum of Modern Art of Bahia (BR); Banco Safra (São Paulo, BR); Kim Esteve Collection (São Paulo, BR); Museum of the University of New Mexico (Albuquerque, USA); Secretariat of Culture of the State of Bahia (BR); Casa Jorge Amado Foundation (Bahia, BR); Secretariat of Culture of the State of Paraná (Curitiba, BR); Contemporary Art Museum of Paraná (Curitiba, BR); SuperClubs Group (Costa do Sauípe, Bahia, BR); Museum of Brazilian Art of the Alvares Penteado Foundation (São Paulo, BR); Southward Art Collection (Buenos Aires, Argentina); Grand Palladium Spa and Resort (Imbassaí, Bahia, BR); Bass Museum of Art (Florida, USA); José Silveira Foundation (Salvador, BR); Museum of the Miserícordia (Bahia, BR); Manilow Collection (Wisconsin, USA); Burger Collection (Hong Kong), among others.